New Affiliate – Ayodeji Kingsley

Can you describe your creative practice for us?

I am a Sculptor, Graphic Artist and Environmental enthusiast. Working primarily with metals, I sculpturally explore the critical relationship between human activity and the natural world. My practice involves transforming discarded metal materials, aiming to highlight the environmental repercussions of unsustainable consumption and engage with themes of social commentary and human experience 

Tell us more about your experience and the story behind why you started your creative practice and your journey to where you are today. 

Growing up in Nigeria, I was deeply influenced by the ingenuity and resourcefulness of people navigating daily life. Witnessing the innocent creativity with which discarded materials were repurposed, often out of necessity and a lack of appropriate tools, left a lasting impression. This inherent resourcefulness, a means of improvisation in the face of limitations, has been a defining influence on my creative surge. Seeing how people effortlessly upcycled materials to create essential equipment for their professions revealed a powerful synergy between practicality and invention, fostering sustainability as a natural by-product of daily life. These formative experiences in Nigeria – the vibrant visual culture, the resourceful spirit born of necessity, the surreal urban landscape, and the power of metaphorical communication – laid the essential foundation for my artistic sensibilities. They ultimately guided me towards the path of creating evocative sculptures from discarded materials, imbued with layers of meaning and designed to provoke introspection. 

What University did you graduate from? What course did you study? 

Had my First degree in Chemical Engineering from Obafemi Awolowo University and a Post graduate degree in Environmental Control and Assessment from University of Derby. 

What UoD networks did you find useful during your studies and post graduation, if any? 

Derby Uni’s Art Society.

How will being part of our community help your business/practice? 

Being part of the Banks Mill community offers significant benefits for my sculpting practice. The vibrant network of creatives fosters collaboration, cross-disciplinary inspiration, and the exchange of valuable skills, potentially leading to unique artistic outcomes. Situated within a recognized creative hub, my work will gain increased visibility. The potential for on-site exhibitions, open studio events, and inclusion in community showcases will expose my sculptures to a wider audience. Association with this respected institution enhances my professional standing. The inspiring and supportive environment combats isolation, fostering innovation, experimentation, and a more productive artistic journey. Ultimately, this integrated support system will be invaluable for the growth and sustainability of my practice while providing expanded opportunities.  

What other work experience/support/ training have you gained relevant to what you’re doing now? 

Beyond my formal education, I’ve actively sought out diverse learning experiences that directly inform my current practice. This includes attending artist residencies, participating in specialized art workshops, and undertaking an apprenticeship. Crucially, I also served as a studio assistant to prominent contemporary artists in Nigeria. This hands-on experience provided invaluable insights into professional artistic practice, studio management, and the realization of complex projects. Alongside these structured opportunities, I’ve consistently pursued self-development through research, experimentation, and engagement with the wider art world. 

 

What are you working on at the moment 

For my upcoming solo exhibition, I am developing a collection of evocative sculptures. The work delves into themes of social commentary, human experience, and a bit of personal life story. The exhibition is planned for later this year. 

 

Can you tell us a bit about your work, the techniques you use to make them and how long a piece takes to complete. 

The time required to complete my metal sculptures varies depending on their scale and complexity. My creative process with discarded metals is an ongoing dialogue between my initial artistic vision and the intrinsic qualities of the materials I find. It starts with conceptualization, where ideas are formed in my imagination. These are then developed into a two-dimensional sketch, which informs the creation of a three-dimensional maquette, usually in clay, to refine the form and spatial relationships. Material sourcing is a crucial next step, with scrap yards, demolition sites, and industrial remnants serving as my primary resources. I seek out metal pieces with character, evidenced by dents, rust, and the history of their use or damage. Sometimes, I integrate other medium to fully realize a specific artistic goal. My fabrication techniques are also determined by the sculpture’s intended location; outdoor pieces necessitate robust structural engineering, while indoor works allow for different approaches. On average, smaller sculptures take 10-12 weeks to complete, while larger outdoor pieces require a longer production period.