110: TEGA AKPOKONA: A SPACE BETWEEN DETERMINATION AND SPONTANEITY.
As with his paintings, where brushwork breaks through layers of detail caught between states, so too does an artist in motion, discovering and witnessing their own signals of change. Tega Akpokona contemplates the evolution of his own voice.
Tega Akpokona, ‘Maquette sketch and shadow installation 2, paper and tape binders,2024. Image courtesy of the artist.
‘I’m convinced that language itself is born from a peculiar human need to understand, and to be thoroughly understood…
…I was using my work as a unit for understanding the language of ‘masses’ and the concept of “mass character” - an observed phenomenon within African people that dictates a predisposition to spontaneously respond in mass mobilization; where the mass identity takes prominence over individual determination.’ T.A.
The first time I saw and was aware of your work, I think was seeing some studies for paintings that you had made on tiles and I was immediately captivated - and then I remember seeing your maquettes via zoom for figurative paintings - again I felt that this was a new language…
I remember quite well the genuineness that I could sense from your non-verbal response and the simplicity in the depth of your feedback as being an important marker for me, especially at the early stage of the programme, unpacking new information and concepts to develop a better understanding of my work. At the time I was using my work as a unit for understanding the language of ‘masses’ and the concept of “mass character”- an observed phenomenon within African people that dictates a predisposition to spontaneously respond in mass mobilization; where the mass identity takes prominence over individual determination.
I drew references from archives of historical and contemporary political happenings where this peculiar character has been exhibited, highlighting the recent series of political protests and riots that happened in Lagos, which spread across Nigeria in a ripple effect. I wanted my work to provide the audience with a sense of being led by hand through the chaos, and to engage empathetically with the subject matter. To effectively achieve this I felt the urge to explore the potential for painting in an expanded context and present a more immersive experience. It was while engaging in a task of experimenting and quick making with sketch models using discarded material and paper that the ideas emerged to restage scenes of the riots and candle light processions on a more intimate scale. This new direction would provide a fresh lens for me to view my prospective painting compositions from new dimensions. I’m convinced that language itself is born from a peculiar human need to understand, and to be thoroughly understood.
Tega Akpokona, ‘Study (in reverence for life)’, Ink and gouache on paper. 2024. Adjacent page: Alma Stritt, ‘haven’t been home for a while.’ 05.05.24. M-A (A SPACE BETWEEN) issue 4, published May 2025. Still Life image: Harry Nathan.
Within the new M-A (A SPACE BETWEEN) there are three artists who are depicting Lagos, Joy Julius, Daniel Obasi and yourself, all in very different ways and yet there is a physicality in the use of movement which is shared. Can you contemplate why you wanted to depict movement within your work?
An interesting aspect of living and making art in Lagos (one of the most densely populated and socially vibrant coastal cities on the continent) for me is that I subconsciously develop a peculiar adjustability to the constant movement (physically and metaphorically), while navigating societal factors that restrict movement. The feeling of tension and sense of urgency is near palpable, and this inevitably informs the decision-making process and conceptual framework of my work, especially when I depict socio-political themes. I understand from an African frame of reference that momentum and rhythm is an essential universal language, so when I make work, I’m conscious that the audience are innately drawn to interpreting the language of movement, just as importantly as finding resonance with the subject matter of the work. This priority for depicting movement and the ephemeral nature of time has informed the way I have developed my visual language and how I engage with materiality - from the use of gestural brushwork and directional mark making with the intent of guiding the eyes through the topography of the surface, to experimenting with painting on floor tiles (that I sourced from waste residues from building sites around the city, in response to the drastic move to modernize the city of Lagos). Developing a visual language to interpret and find resolve to the subject of movement is an essential part of my practice.
I remember a brief conversation we shared regarding the etchings of Goya, Which artists fascinate you?
Yes I recall comparing the honesty in storytelling and the absence of care for consequence in Goya’s later work as likened to a ‘confession from a dying witness’. His incredibly delicate technique and the level of dedication to truth and the depth to which he was willing to reveal his vision will always make Goya a revered reference point for artists working today in a time of intense systemic censorship. I’m reassured by the timeless impact of Goya’s oeuvre that the relentless pursuit of truth is the ultimate purpose and contribution of the artist. I’m inspired by Goya’s dedication to drawing. In the same light, Kathe Kollwitz is an artist whose work I hold in high reverence for mastery of technique; I’m fascinated by her ability to convey the tenderness of human emotions using lines. I’m particularly drawn to and fascinated by artists who found a way to develop a mastery of their technique that precisely communicates their vision of the world as they have experienced it, especially amidst turbulent times.
I think of your use of ochre, can you contemplate why you return to yellow within your painting?
On first contemplation, I can identify that spending my formative years within the tropical parts of Nigeria played a significant role in shaping my perception and appreciation for earth tones. The consistency of an all-year summer climate illuminating the hue of the natural environment certainly heightened my capacity to perceive warmth. A distinct and prominent feature of the sub-Saharan environment is the abundance of sandy soil, with its nuances of ochre tones. My interaction with this natural material would represent my earliest and essential imprint in the process of developing a relationship with colour and an organic bias for a colour range as I grew familiar with paint pigment. I’m also greatly inspired by the significance of ochre-based pigments in the history of painting and image making. From the way it was transformed in Egyptian iconography to depict the radiance of the skin, to its essential feature in the iconic works of master artists like Rembrandt. For me the use of ochre represents a very primal and familiar sombre visual language for telling human stories that resonates on an intrinsic level.
You are due to continue your studies in London later this year. What attracts you to this city?
The city of London has always been of fascination for me because of its unique significance to art history, vast museum infrastructure and a delicately balanced confluence of cultures. I feel instinctively optimistic about my upcoming learning experience alongside an inexhaustible array of talented individuals. I’m keen to engage my sensitivity to movement with the environment and community.
What are your signals for change?
The feeling of unease and dissatisfaction with the status quo is an ultimate signal for change, and I believe that identifying and responding to the urgency of these signs can serve as a dependable compass for the creative working today.
Tega Akpokona, Reverence, 2024, Oil on canvas, 70 1/10 × 59 4/5 in. Image via MATT gallery, Paris.
Tega Akpokona is a contributing artist to Issue 4 of M-A (A SPACE BETWEEN), available from maaspacebetween.com along with 18 stockists including The Serpentine bookshop, Magalleria, Jeu de Paume and Dover Street Market.