Aisha Seriki: Spiritual Realities

An interview with Nigerian, London-based artist Aisha Seriki. Her portrait photography explores Blackness, gender, mythology, spirituality, and more 💫

Addy: Aisha, thanks so much for joining me! What initially sparked your interest in portrait photography?

Aisha: I’ve always liked pictures because growing up, I was very used to my dad taking photos. He still takes so many photos, every single moment has to be documented. So I think that it was immediately a medium that I subconsciously gravitated towards.

I also did art GCSE at school. At the time, I was looking more at mixed media. Photography was not the central point, but it was a love of mine. At that time, I was using photographs in my work, but it was more like photo text or collage. Then in college, I took photography. I think the main reason why I like photography is the connection that you have with other people, and making new relationships during every shoot.

Sometimes I shoot still lifes, but it's not as satisfying as taking pictures of people. The human element and that idea of connection is so important. That's why I started shooting people. Also, I was really activated by social justice. In college, I did a project about gentrification, then I took pictures of people in the community, so it's always been inspired by stories and people.

Addy: I really love that. It's more about the subject matter rather than the medium itself.

Aisha: Yes. I like the technical aspects of about photography as well, but the people are what I care about.

Addy: At the age of 8, you moved from Southeast Asia to the UK. How has your background influenced your practice?

Aisha: As a person, there isn’t really a distinction between me and my practice. Everything I care about just flows into my work. The way that my background probably influences my practice is more the fact that I've seen a lot of things in life. I feel like I'm just very open.

Right now, what I'm interested in is Yoruba spirituality, which we'll probably speak about later on. I'm interested in universal truth. Seeing truth from other cultures and seeing the parallels in my own culture, and making those comparisons. I’ve come to the conclusion that we're all one, we're all trying to communicate the same ideas, even if we have different histories. My background helps me by broadening my perspective of the world and realising that there's so much more that we haven't tapped into. It's endless.

There are infinite possibilities. Even right now that I'm creating work, there's so much more that I could be exploring. I think that's the beauty of having a practice, you can tap into so many things.

Addy: So true. Whereabouts in Southeast Asia did you live?

Aisha: I moved around. At one point, I was in Vietnam, before that, I was in India. Where else was I? I was in Malaysia. I was just about, it was fun.

Addy: Do you remember a lot from that time?

Aisha: There are memories that I have, but photos really help. That's why I have to thank my dad for that, because without him taking all those photos, a lot of those memories probably would have disappeared. He documented everything. It’s been easier to retain, and hold onto, and cherish those memories. That's another reason why I like photos.

Addy: That’s really cool. Describe the process of capturing a photograph.

Aisha: I have different processes depending on what I’m capturing. I think when it comes to people, I always have an idea or theme that I'm interested in. With my practice, how I take photographs is very intentional, it's almost bordering on performance because it's often very staged. Going to a shoot, I know roughly what I want to shoot, and there’s a lot of research beforehand.

My process has changed a bit. Before my master's at the RCA, I’d have an idea that I'd just shoot. Whereas now, my master's has taught me that nothing is ever the finished product and you can always continue to add little things. So now I will have an idea, shoot it, then think, okay, what else can I do? I often go back and think about other things or think about different references.

Some references are from art history, but some are pictures from real life. When I arrive on set, I have a clear idea of what I'm trying to aim for, but then I always ask the person or people I'm shooting, “What can we do? What do you think we should do?”

Addy: I like that you value the input of the people that you're shooting or working with.

Aisha: I think it's important, even just thinking about the optics of photography, and the fact that I'm taking a photograph of someone, I’m the person in control. Being a photographer, that idea of ownership and copyright is quite interesting to me, because photography is quite an extractive thing. So I'm always trying to think about ways that I can limit that.

Addy: That idea of ownership.

Aisha: Yes.

Addy: It's been a topic of discussion in recent years. I know that there was that law passed that if a photographer, like a paparazzi guy takes a photo, it automatically belongs to them. A model could be infringing on copyright by posting a photo of themselves online because they didn't take it. It's drawn attention to this really complicated idea of ownership.

Aisha: Yes, it's about commodity as well. It's really hard. It's kind of a grey area that I'm still navigating, but it’s important to just acknowledge it as a photographer.

Addy: Definitely. Your latest project Ori Inu explores spirituality, taking inspiration from the Yoruba metaphysical concept Ori, which means ‘the head’.

Aisha: Yes.

Addy: What do you hope to communicate through this project?

Aisha: I guess with Ori Inu I hope to communicate quite a few things. Firstly, I'm talking about this idea of universality. Ori Inu showcases Yoruba concepts and ideas from Yoruba spirituality in a different way. In Nigeria, where it originates, Yoruba spirituality is demonised, but not here in the West, which is so interesting.

Thinking about the concept of universal truths, I feel like the idea of mind and body is something that is present in almost all cultures and all spiritual traditions. There's always an acknowledgment that we're not just a body, we’re also a soul. I think sharing this with a Nigerian audience, people like my mum, is a way to show this concept of the Ori in a positive light that looks beyond Yoruba spirituality being devilish or demonic.

It opens discussions around the concept, even for people that aren’t Yoruba. Another thing that I hope to communicate is that we are very multifaceted and life is not stagnant. We have different layers within ourselves and these all come together to make who we are. I think humans are very complex, we're always evolving, we're always changing. Another thing that I would like to communicate is the importance of reconnecting to yourself and self-love.

Addy: Beautiful. You also mention metamorphosis and rebirth. How does that tie into your photography?

Aisha: I think with metamorphosis, that’s part of my second project. I'm hoping to create a two or three-part series looking at the idea of time and the fact that time is very cyclical. I don't believe that time is linear. The reason why I've become interested in the idea of time is because of the pandemic and how the pandemic affected my practice. I'm hoping to create a three-part series where Ori Inu explores this idea of liminality and being stuck, which came from the pandemic, and not knowing what I wanted to do. That's why I decided to create this project, which talks about reconnecting to yourself. Then the second part, which I'm still developing, is based on the Greek myth of Narcissus.

The reason why I was interested in the myth was the fact that Narcissus transitions from someone that is self-obsessed, into a flower, becoming a beauty that everyone can admire. I was interested in looking at the idea of self-obsession from that angle.

Addy: I saw one of your works where a person gazes into the water; I didn't realise that was your point of reference.

Aisha: Yes. There's a reflection that’s in the image and that goes back to the concept of Ori Inu, and the idea of the doubling and multifaceted nature of self. Ori Inu explores Yoruba spirituality, but in the next series I'm also trying to look at Greek mythology. In a way, I'm tapping into these overlapping themes.

That's why I like the story of Narcissus. Also, I like the idea of using a male body to talk about self-obsession. Historically it’s always been women that are seen as self-obsessed. How does that then look when you are thinking about the Black body?

Addy: That's so interesting, flipping the idea on its head almost.

Aisha: Yes, that's why I haven't titled it. It's very early in its development because both themes are very expansive. I think that the more you tap into it, the more complex and more beautiful it becomes.

Addy: Yes, just adding more layers to it.

Aisha: Yes, exactly.

Addy: How do you find and choose locations that fit the narrative you want to convey through your portraits?

Aisha: It all comes from the research process. Very early on, I know where the portrait is going to have to be shot or that it has to be created in a certain place. For Ori Inu, it was important that it was shot in the studio, in this blacked-out area, because I wanted it to remind you of solitude, almost like if you imagine what a black hole would look like. Because sometimes when you're in your thoughts, it's very isolating. That's how I imagine it.

Addy: Almost like you're in a vacuum.

Aisha: Yes, exactly. It just feels very lonely sometimes. For me, that was very clear. I knew that.

Addy: For Ori Inu, everything looks almost dreamlike, whereas your latest Untitled project feels more grounded in reality.

Aisha: The difference as well is that the Untitled project is shot on colour film, whereas Ori Inu is shot in black and white. I wanted Ori Inu to be shot in black and white to emphasise the whole idea of solitude, but with Untitled, I wanted to have more freedom.

It didn't need to be in black and white because in the myth, the idea of the daffodil is very important. It was just clear to me that it had to be shot by a lake. I guess I could have done it in the studio, but I felt like being outside was important for that. Again, it's all quite intuitive.

In terms of references, I looked at John William Waterhouse (Echo and Narcissus), and Dali's painting (Metamorphosis of Narcissus), and they’re both outdoors as well. I really liked Dali’s painting of metamorphosis actually. It's one of my favourite paintings.

Addy: It's interesting to hear about the more classical art references because your work feels so contemporary.

Aisha: For me, I think it's a mix of history and what is going on at the moment. I feel like the present is not separated from the past, it can never be. Throughout my process, I looked at the past to see how the myth had been portrayed, then I thought about how I could do that differently. The thing about Narcissus is that the story hasn’t really been looked at through the lens of the Black body. I think it offers something different because I'm still referencing this myth that a lot of people have referenced throughout art history, but doing it in a bit of a different way.

Addy: Amazing. What role does lighting play in your photography?

Aisha: You can't remove light from photography. With Ori Inu I was referencing 20th-century lighting and I was looking at different photographers. I looked at George Hurrell, I love romanticism and early 20th-century vampire movies because they have really, really dramatic lighting but it's very beautiful. I also love a lot of contrast and very, very soft light. For Ori Inu, lighting was a big thing. I also made specific references to lighting from photographers like Ruth Bernard. I like her pictures of women. With Ori Inu, it had to be quite intentional and Ruth's work is very, very intentional. I read that she would only ever shoot one picture in a session.

Addy: Wow. Some of her work feels almost abstract.

Aisha: Yes, I really like her work. Photography is about light, and so it's always important. With the new Untitled project, it was a bit harder. It was all natural light, and that can be very unpredictable. I just try to do my best. I like shadows as well, the contrast can help.

Addy: Totally. Your series Heaven is Not Closed re-imagines the paintings in the Uffizi Gallery with a focus on powerful portrayals of Black women. What inspired you to explore diverse representations of women in your practice?

Aisha: I guess it was inspired by the lack of representation growing up. Within the past 10 years, things have definitely made a dramatic improvement, for example at Somerset House they're having that lovely show about Black women. We've made some changes, but I do remember being a young girl and just seeing the negativity around Black women in general, the negative portrayals in the media. Then also on top of that, the lack of visibility of Black women.

When I was making Heaven is Not Closed, I felt like the world was a bit different at that point, but it was still very important for me. I just wanted to create something for my younger self that spoke to the lack of visibility of Black women getting their praises and their flowers. That's why it's always been important for me.

Addy: Growing up, there were so many negative tropes and ideas and personality traits attached to Blackness and femininity. It's been so mind-blowing to see the shift in the last few years. Obviously, we’ve still got a long way to go, but we're seeing more and more celebrations of Black women, which is great.

Aisha: Honestly, I feel like, yes, things have changed a lot, but I still need to hear from people who are younger because I don't know what that space looks like now. Maybe because I'm older, and I'm seeing women like me, you, just women around me doing cool stuff, I wonder if that is also impacting younger audiences. I remember 2010 was just a crazy time to live in. It was just horrible. You didn't see yourself. It was just so isolating.

Addy: Representation is one of those things that you don't realise is missing until you get like a little glimmer of it and you're like, “Oh… this is what it feels like.”

Aisha: Exactly.

*Heaven is Not Closed 3* by Aisha Seriki

Addy: Are there particular artists, genres, or experiences that consistently influence your work?

Aisha: I think with genres and movements, surrealism is probably going to be something that I will always tap into. Surrealism and magic realism, because they tap into the imagination. I like the idea of tapping into imagination and alternative universes. Art allows you to create things outside of reality. With artists, I feel like it's always shifting, it depends on where my head is at that moment.

I like Adrienne Raquel, I got so gassed because one of my works was featured in the same article as her. That’s a big one. Kara Walker is someone that I've always loved and I think will always love because of her silhouettes. Right now, surrealists like Lee Miller, I really like her work, and Man Ray.

In terms of literature, the first person I go to is bell hooks, like in terms of referencing. Right now I love Saidiya Hartman, Wayward Lives is one of my favourite books at the moment. I think I'll always continue tapping into this idea of spirituality.

Addy: I’m obsessed with your research process, because as a viewer or spectator, you only see the final image. It's great to hear about all of the different components outside of the visuals.

Aisha: Yes, it's quite fun. Deep down, I’m just a researcher.

Addy: How has your practice evolved over time?

Aisha: I feel like my practice will always keep changing with time, but I'm giving myself more freedom and allowing myself to see where the process takes me. This was something I struggled with a lot before I came to university. This year has been really helpful in terms of trusting the process and continuing to develop ideas.

Right now my practice is in a fun place because I'm interested in photography, but also interested in objects; and because a photograph is an object, I’m experimenting with different materials. Right now I'm experimenting with bronze, and seeing where that takes me. I also want to experiment with other materials, like maybe glass.

Another medium is moving image, I want to definitely make a film within the next year or so. I feel like I'm in this fun place right now and I’m trying not to box myself in too much. I think I'm quite rigid in terms of my research process and all of that. I don't think that's ever going to leave my practice. The thing that has evolved is that I’m now allowing myself that freedom to see where things take me and just enjoying that.

Addy: It’s great that you’re not putting yourself in a box.

Aisha: Yes, I’m just being free.

Addy: I think working with glass will be interesting because of what you said earlier about light and how it can be malleable. You can do so much with it.

Aisha: Yes. I have to sit down and think about glass properly because I initially wanted to make the combs out of glass, like make my own physical mirrors. There's room to explore and because I've allowed myself to explore a lot during this degree, now I’m just chill and ready to see what’s next.

Addy: Yes! That actually ties into the last question, what's next for you?

Aisha: I'm going to be doing another master's, which every time I tell anyone, they’re like, “Another one?”, but I'm going to be doing another master's in September and this time it will be a master's in fine art. The reason why I'm doing this is because I want to have more time to explore different materials. Also, because it's a master's in fine art and not a master's in photography, there are going to be different people from different courses. I'm excited to see how being around different makers translates into my practice.

Also, I'm going to be part of a group show in September and October, so I'm excited. I'm just preparing for that now and hopefully maybe a solo show next year, fingers crossed. Right now it's about continuing to develop and taking it slow. I'm just trying not to rush the process really.

Addy: Yes, it sounds like you're in a good place. You've got a good rhythm going, trying new things and seeing where your inspiration takes you. I think that's the perfect environment to make art.

Aisha: Yes, it's very chill. I'm not trying to put too much pressure on myself and just seeing where the whole process takes me.

Addy: I'm excited to check in a year from now.

Aisha: Yes. I wonder what it's going to be like in a year.

Addy: I'm sure it's going to be great <3 so at the end of interviews, I like to do something called a rapid fire round 🔥 here we go! Romanticism or art deco?

Aisha: Art deco.

Addy: Minimalism or maximalism?

Aisha: I think I'm a maximalist. Yes, I'm actually a maximalist at heart. I'm a maximalist, I'm sorry. [laughs]

Addy: Film or digital?

Aisha: Film. I just love the process and yes, it’s what made me fall in love with photography. Definitely film all the way.

Addy: Love that. Monochrome or sepia?

Aisha: Well, this is hard. I love sepia. I haven't tapped into it, but I would say monochrome.

Addy: Traditional statues or contemporary sculptures?

Aisha: Contemporary sculptures. It's so hard though because I feel like I'm definitely in between because I love traditional statues, but I feel like it's just so interesting to see where we are now and how people are using different materials.

Addy: I tried to make these quite hard. [laughs] Calling or texting?

Aisha: Calling. I like to talk on the phone. Yes. I'm a talker. [laughs]

Addy: Reality or fantasy?

Aisha: Fantasy. Delusional. (We stan)

Addy: That's so funny. Roses or sunflowers?

Aisha: Roses. I just think they're so cute and just timeless. A rose is just so romantic, so yes, a rose. [laughs]

Addy: Mystery or Sci-fi?

Aisha: Sci-fi. I love sci-fi. Anything dystopian sci-fi. Sci-fi all the way. How about you?

Addy: I would say sci-fi as well. With mystery, some of the stories feel a bit formulaic sometimes. I’m way more into sci-fi. Okay, last one! What was the last song that you listened to?

Aisha: Let's see what Spotify says. I think it's this Amapiano track, it's called Selema. I can send it to you. I love Amapiano. [laughs]

Addy: This looks fun. I haven't heard it before, but I’ll go and listen to it. [laughs]

Aisha: I just feel like I'm a big fan of Amapiano.

Addy: Aisha, thanks so much for speaking with me about your practice! I really enjoyed hearing about everything.

For more from Aisha, check out her website here!

Spiritual Realities

An interview with Nigerian, London-based artist Aisha Seriki. Her portrait photography explores Blackness, gender, mythology, spirituality, and more 💫

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