Source: The Conversation – Africa – By George Emeka Agbo, Lecturer in the Arts of Africa, University of Edinburgh
As migration continues to dominate global news and shape political discourse, mainstream media often carry stereotypical images of immigrants, portraying them as displaced, desperate, criminal.
The photographic practice of UK-based Nigerian artist Michael Oyinbokure (also known as Mike Kure) shows how African artists construct counter-narratives. He uses photography to express insider perspectives on life in the diaspora (abroad).
His art photography presents what immigrants bring with them, their resilience, inventiveness, and enduring connection to their homelands.
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I am a scholar and teacher who uses Oyinbokure’s work as a case study in my undergraduate African Photography course. My research uses the Nigerian case to explore photography as a means for understanding Africa’s colonial and postcolonial histories, including the socio-political forces driving migration.
Through a variety of techniques, Oyinbokure portrays immigrants as people who bear knowledge, cultural heritage and creative traditions. They constantly navigate questions of identity, belonging and survival as they move through different places and build a new life within their host communities.
His photographs offer complexity, dignity and humanity in a world that often seems to lack it.
Who is Michael Oyinbokure?
Born in Lagos, Nigeria in 1997, Oyinbokure studied computer science at the Federal University of Agriculture in Abeokuta. He received a master’s degree in project management from Coventry University in London. But he was fascinated by the possibilities for display and archiving of photographs on internet platforms like Instagram. His own practice as a photographer would follow.
Oyinbokure has been influenced by the work of Seydou Keïta, a renowned Malian photographer, and by Rotimi Fani-Kayode, a Nigerian photographer who moved to the UK with his parents in 1966. This was shortly after Nigerian independence from British colonial rule and during the crisis that climaxed in the Nigeria-Biafra war.
Oyinbokure found in photography a language to convey the experiences of prejudice, displacement, and the crises of identity and belonging that he witnessed in Nigeria and in the UK. He moved there to study in 2022.
In the UK, Oyinbokure turned his camera to his fellow migrants. He showed them busy with economic activities or posing in studio settings. He sometimes enhanced these settings with touches of body painting and costume display. Through these images, he seeks to illuminate displacement and the everyday realities that define the lives of Black immigrants.
Masked realities
A good example of Oyinbokure’s approach to his photo-storytelling is the Masked Realities project in 2024. Here he worked with Lebanese-Nigerian painter Sinatra Zantout and with Nigerian immigrants in Peckham in the UK.
Oyinbokure’s photos show women going about their jobs. They are running traditional African clothing stalls, offering hairstyling services. Their work symbolises both economic mobility and cultural identity.
They tell a story of economic integration within the diaspora, of resilience, of women striving to survive and thrive in a new environment. But beyond documenting labour and survival, the photos encode elements of cultural heritage. The women’s activities and settings project the aesthetics of their African roots.
Some photographs from the series were translated into paintings by Zantout and exhibited alongside the full body of Oyinbokure’s work at the Play Room Gallery in London. A piece from the collaboration received the Dubel Prize. Another artwork from the partnership with a different Nigerian artist, Ken Nwadiogbu, was nominated for the Circa Prize.
Portraits
Besides photographing real-life situations, Oyinbokure also adopts a performative approach that involves careful curation of his subjects. This technique exploits the creative and expressive potential of pose. It incorporates visual elements like costumes, accessories and body painting in a studio set-up.
It recalls the African studio portrait photography of the early 1900s: the genre that brought Mali’s Malick Sidibé and Seydou Keïta into the limelight. With studio backdrops, props, accessories and co-produced poses, these photographers created images that came to signify the placement of Africans within the frame of modernity.
We see similar co-production in Oyinbokure’s Echoes of Pain, The Truce, Crowned in Silence, and In Bloom series.
Sidibé and Keïta’s photos allowed viewers to imagine liberation. Oyinbokure’s, on the other hand, curate the body through facial expressions, body paintings and gestures to speak of the emotional burdens of life in the diaspora.
In Bloom
For instance, he created the In Bloom series by working with a young Somalian woman living in London who was coping with the loss of her parents. Across the images, her facial expressions, body movements, and the blurs produced through multiple exposures evoke a profound sense of loss. This bereavement transcends the personal. It mirrors the broader sense of estrangement that often defines the African migrant experience.
Exhibiting and sharing the photos on Oyinbokure’s website and social media platforms broadens their audience.
The images have been featured in numerous exhibitions, within community spaces and on the international stage. They have been in art shows with names like Echoes of Pain, Boundaries and Borders, Echoes of the Past, and Boundless Horizons.
Pushing boundaries
Oyinbokure is a young artist who continues to push the conceptual boundaries of art photography. Increasingly he is using props and accessories like mats and travel boxes in his work. These carry Nigerian cultural symbolism and evoke movement and migration.
Read more: The award-winning African documentary project that goes inside the lives of migrants
Many parts of the world are seeing harsh immigration policies and rising racial and xenophobic hostilities. These are often justified by migrants being portrayed as illegal, defiant, and as threats to security and economic stability. This perception is reinforced by images in the media.
Oyinbokure is driven by a desire to tell the stories that are not often told because they do not conform to dominant stereotypes. They are stories of Africans living their lives, carrying with them their cultures, helping to build communities – real people, not faceless numbers.
– Nigerian photographer Michael Oyinbokure challenges stereotypes about migrants
– https://theconversation.com/nigerian-photographer-michael-oyinbokure-challenges-stereotypes-about-migrants-264795