The space between different identities: a conversation with Motunolabi Adesemoye

Motunolabi is a visual artist from Nigeria Through her character Yonki, she investigates the masks we put on to navigate the world versus the truths we keep boxed inside.

Who is Motunolabi?

Motunolabi Adesemoye is a Nigerian visual artist and painter. She studied Fine Art Education at Obafemi Awolowo University and has always been interested in creating and telling stories through images. Her work mainly looks at identity, culture, belonging and the different sides of people that aren’t always visible. She is also the creator of Yonki, a character she developed as a way of exploring these ideas.

How has your background, culture, or upbringing shaped the way you create?

Growing up in Nigeria definitely shows up in my work. A lot of the things I grew up seeing—our clothes, hairstyles, environment, people, and the way we interact with each other—naturally influence what I create.

I’m also interested in how people can grow up with one identity and then find themselves in spaces where they have to adapt or present themselves differently. I think that is one of the things that eventually led me to Yonki.

Do you see yourself as an “African artist,” or simply an artist who happens to be African?

I see myself as an artist who is African. Being Nigerian is part of my experience, so obviously it influences my work, but I don’t want that to become the only way people understand it. I want the work to be relatable to someone who isn’t Nigerian or African too. The questions around identity and belonging aren’t limited to one place.

What does your creative process look like from idea to finished piece?

It usually starts with an idea or something I’ve been thinking about. I might sketch it, look at references, go back to art history or experiment digitally before deciding how I want to make it. Sometimes I have a clear idea before I start, and sometimes the painting changes while I’m working on it. With Yonki especially, I’ve enjoyed allowing the character to develop naturally rather than deciding everything about it from the beginning.

Are there particular materials, symbols, or recurring elements you’re drawn to?

I’m mostly drawn to painting, especially oil painting, but I also work with acrylic, graphite, mixed media and digital tools. Figures are a big part of my work, and I’ve also been interested in masks, hair, clothing, skin, nature and surfaces. I like elements that can tell you something about a person without having to explain everything directly.

What part of the process feels most natural to you—and what part is the most difficult?

Actually making the work is probably the easiest part for me. Once I know what I want to explore, I enjoy sitting down and building the image. The difficult part is usually the beginning—figuring out exactly what I want to say and whether the idea is strong enough to become a full piece. I also question my work a lot while I’m making it.

What themes or questions are you looking to answer with your art?

Identity is probably the biggest one. I’m interested in how people see us compared to how we see ourselves. I think about the different versions of ourselves that exist depending on where we are, who we’re with and what we’re expected to be. A lot of my work comes back to questions around belonging, culture and the things we choose to show or keep to ourselves.

Are there new mediums or directions you want to explore?

Definitely. I don’t want to be restricted to painting forever. I’m interested in exploring sculpture, installation and other ways of presenting the characters and ideas I’m developing. With Yonki, especially, I see possibilities beyond a painting. I want to see how far I can take the character and the world around it.

Where do you see your work in the next five to ten years?

I see myself having a much more developed body of work and a stronger visual language. I also see Yonki becoming a bigger part of my practice, not just as individual artworks but as something that can exist across different forms. I’d like to have exhibitions, collaborations and projects that allow people to experience the ideas behind my work in different ways.

What do you wish people understood better about your work?

I don’t want people to feel like they have to understand everything immediately. There’s always a reason behind what I put into my work, but I also like hearing what people see in it themselves. Sometimes, someone can notice something in a painting that I didn’t even think about when I made it.

How do you handle creative blocks or self-doubt?

I take a break. Sometimes I try to force myself to create and it just makes everything worse. I’ll look at my old works, research, sketch, visit exhibitions, or just do something completely different. I’ve realised that stepping away doesn’t mean I’ve stopped progressing.

If your art could start one conversation in the world, what would it be?

I’d want people to talk about identity and how much of ourselves we change depending on where we are. Especially the difference between the person people think they know, and the person that actually exists underneath.

One word that describes your art? 

Identity.

A colour you’re drawn to right now? 

Blue.

A place that inspires you? 

Nigeria.

A message to emerging African artists?

Keep making the work and give yourself room to experiment. You don’t have to figure out your entire style immediately. I think a lot of finding your voice comes from actually making things, trying different ideas and paying attention to what keeps coming back in your work.

Could you tell me about Yonki and the concept behind it?

Yonki is a masked-face character I created to explore identity and the space between different identities. The idea came from thinking about how people can have different sides to themselves. There’s the version people see, the version they show in certain environments and then the part of them that comes from their background and experiences. The mask represents that outward version—the version we use to fit into a space, or to be understood by the people around us. The things inside the box can represent the parts of us that are still connected to where we come from. That’s why Yonki can take on different appearances. I’ve used it to explore things like modern and traditional identity, visible and hidden identity, and the feeling of being between two worlds. It’s not meant to represent one specific person. It’s more like a character people can see themselves in.

You have a very unique style and theme that runs through most of your work. What inspires it?

A lot of it comes from just observing people and thinking about identity. I notice how people change depending on their environment, how we dress differently for different spaces, how we present ourselves online compared to at home, and how much of our background stays with us even when we’re trying to become something different. Those observations started showing up in my paintings, and eventually they became part of the reason Yonki was created. I think the style is still developing. I’m still experimenting and figuring out how I want to communicate these ideas, so I don’t see what I’m doing now as a finished version of my practice.