Móyòsoré Martins is a Nigerian artist who’s vibrant, colourful, artworks — that blend abstraction with figurism — have been exhibited all over the world. Throughout the months of May and June, he enjoyed his first solo show in New York City, and, in September, he made his solo debut in Los Angeles. His artwork has been featured in auctions at Sotheby’s New York and Phillips. A NYC resident, his studio is a massive 3,000 square foot space that is filled with objects that influence his muse. This Sunday, he is planning to go to Beirut for his first global solo exhibition that one of his collector’s is producing from September 28 through October 11th and, early next year, he will enjoy solo shows in Paris, France, and Texas. A presence at the BUTTER Art Fest, Basel, Scope Miami, and more, Móyòsoré Martins career has taken off since he was discovered in 2020. Móyòsoré Martins recently discussed his art and career via an exclusive interview.
How did you get interested in art and why did you gravitate towards abstract art?
For me art was a gift — and I was naturally gifted as a child. I saw things differently and was able to create things out of nothing. However, this was not something that was nurtured. It was something I wasn’t allowed to do. And that made me have a special interest in it. Actually, I wouldn’t call it an interest — it was an obsession. My gravitation to abstract expressionism is the only way to project and create art in an honest way. There’s a direct connection to the soul and to the heart. For me Abstract art gives the viewer something to think about. Like Jazz — Jazz gives you the room to think. To imagine. Without structure everything is abstract. This is the genuine and honest way that is childlike. And the expression is how you are true to yourself and your journey.
How did you develop your style and how did you find opportunities to exhibit it in your native Nigeria?
How did I develop my style? I developed it by practicing. By doing and doing and doing over and over again and each time moving it a notch further. The next is what helps develop oneself. I developed my creative expression through something that was honest to myself. It was my truth. I never exhibited in Nigeria. When I was there, I wasn’t allowed to make art. I would make art in the underground through making clothing design and making murals and so forth. I didn’t have the opportunity to even have a relationship with the galleries yet.
How were you discovered in 2020?
I was discovered when I got a job as a graphic designer with Traffic Creative Management in NYC. I kind of walked into my future. It was pure chance. The owner of Traffic, Michelle Edelman, was both an art collector and worked in the art business alongside her husband Asher Edelman. They asked to come and visit me in my studio. That was the beginning. We started working together slowly and very organically. With most things in life you just need the right intensions and things somehow fall into place.
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What has it been like to exhibit your work internationally?
It’s been amazing! I mean, it’s a dream. It’s been eye opening. Listening to peoples take on what they see and how it makes them feel. I learn a lot as well. I’m always learning. It’s another manifestation and confirmation that I’m not crazy. I’m just so grateful.
You moved to New York, so how does living here influence your creativity?
Hahahaha, oh my God, moving to New York has really influenced my creativity, as well as my whole human being. It makes me realize that this is all I have. My mind set and my intensions are on a much higher level. New York doesn’t give you a pat on the back. You are meant to do what you are meant to do. I love it. I love the stimulation. I love the style. I love the energy people put in their work. People are very real. Design, architecture, art, fashion. Its constant inspiration and stimulation. I don’t think I can live anywhere else. It’s just the best.
How is the New York art scene different from the scene in Lagos or Abuja?
It’s totally different. Different cultures. Different expectations. The art world around the world is not the same. What they look to — realism, expressionism, modern art. In Africa there’s a deep experience of art — spiritual art. Exhibitions in Lagos are incredible. The artists need more exposure. They need to get out of the bubble. They have the skill and the know-how. They need more influences from outside of their world. My work was much more narrative to start. Much more referencing my old world and using any kind of materials available. As my world and my experiences have evolved and changed, so has my artwork.
Which is your favourite painting and why?
I don’t have a favourite painting because I’m a man of many wants and many faces. Anselm Kiefer, the post war brutalist painter moves me. His subject matter and how he uses different materials, like metal coming out, etc. He is one of a kind and I really connect to his work. I’ve witnessed war. I can relate to the pain. He’s one of those artists that I don’t get out of my head.
What has been the highlight of your artistic career so far? Essentially, what’s the best part of being an artist?
Everything. Every day is my highlight. As soon as I wake up it’s exciting. It’s such an exciting life, and an exciting path to follow- to know that I can create. It doesn’t have to be the shows or the recognition. It’s having the studio; with all the great things I have collected that inspire me. This is my highlight. Waking up every morning as an artist and being in my studio- that is my highlight. If I were to hang it on one achievement, I would never be happy.
How do you hope your career evolves over the next five years?
I hope it does! I hope it evolves in the right time and I hope everything I want will happen before I leave, or while I’m still here. But meanwhile, I’m enjoying everything. It’s not what I want but what I know. To be influential to my generation of artists, and when I’m gone, they will study my art, my palette, my encryptions, and messages.
Is there anything else that you would like to mention?
Being vulnerable — being vulnerable as an artist is the beginning of everything. And, that life is a blessing. Being gifted is a luxury. Being talented is not enough. You need more than talent. You need way more than that to get where you’re going. And understanding the art of time. Time is everything.
Culled from www.artsycr8tor.medium.com
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