Barnabas Osagie

Barnabas Macauly Osagie didn’t always set out to be an artist. Growing up in Benin City, he found joy in sketching action figures in the sand and drawing with pencil and charcoal. He eventually went on to study Optometry at the University of Benin, but art never left him. What began as a quiet passion slowly grew into something much bigger—a language of expression that allowed him to tell stories that felt too personal or complex for words.

Over time, Barnabas transitioned from drawing to painting, exploring realism and then surrealism. His work speaks to themes of family, identity, and the emotional weight we carry in silence. In his Denge Dey Pose series, he reflects on how the absence of fatherhood can shape femininity, and how people struggle to balance being self-sufficient while still needing others. Through each piece, he invites viewers to not just look—but to feel something real. His art is now featured in Identity in Reflection on Creath, where his story continues to unfold.

INTRODUCTION

My name is Barnabas Macauly Osagie. I am a visual artist from Edo State, with a focus on Realism and Surrealism. As a multidimensional artist, I work across various mediums of expression. I began my journey using charcoal and lead pencils for drawing, and gradually evolved into working with acrylic and oil paints.

Through my art, I tell stories about family and the vital role of the family unit. I believe that to truly transform society, we must begin with the family—while also recognizing and exploring individuality within it. My work often delves into themes of identity, self-development, and history.

CAN YOU GIVE A BRIEF BACKGROUND OF YOUR ART JOURNEY?

I started out when I was five years old in Benin, sketching action figures on the ground. I realized I was good at what I was doing, and I gradually developed an interest in comics. My friend, Abiodun Yusuf, later introduced me to visual art—particularly drawing portraits of people.

I got into the University of Benin to study Optometry. While I am an eye doctor by training, I was actively nurturing my artistic interests and developing my skills on the side. Eventually, I decided to pursue art fully and underwent an art residency at Olokun Studio, owned by Prince Adelakun. I started working there, and during my time in the studio, I connected with other artists and deepened my drawing skills—though at the time, I didn’t focus much on painting.

My artistic expression has evolved over time. In 2018, I was primarily working with lead pencil on pelican paper. I also used charcoal pencil during this period. From 2018 until the end of 2021, I focused on realism, using drawing as my main medium of expression.

Between late 2021 and early 2022, I transitioned fully into surrealism, still using drawing as my medium. I later began exploring color because I felt black and white limited my expression. I began using both acrylic and charcoal, experimenting with mixed media throughout 2023, though I returned briefly to realism.

In 2024, I moved away from mixed media and focused solely on acrylic. By October 2024, I shifted from realism back to surrealism. This transition was evident in my Empathy Series, which was exhibited at the Next of Kin Exhibition.

In February 2025, I made another shift—this time to oil paint—while continuing to explore surrealism in my work.

WHAT IS THE STORY BEHIND THE PIECES YOU ARE EXHIBITING?

I use my art to tell stories of humanity, expressing the shared experiences we encounter as human beings.

In my work Denge Dey Pose, I explore the concept of femininity and the beauty of womanhood. I also examine, through observation, how the absence of fatherhood has affected this concept. Many women today are forced to bear burdens they shouldn't ordinarily have to—burdens that should be carried by masculine figures, whether biological or positional. This gap often leads to a loss of femininity. The work serves as a call for men to be men, and for women to be women, so that women can reclaim their femininity and not be subjected to circumstances that diminish it.

In Denge Dey Pose II, I explore the delicate balance between being self-dependent and being dependent on others. What makes us whole as human beings is our ability to understand and maintain this balance. When we become overly self-reliant, it strains our relationships with others. On the other hand, when we are excessively dependent on others, it weakens our relationship with ourselves.

WHAT CHALLENGES HAVE YOU FACED AS AN ARTIST?

One major challenge I faced as an artist was learning to paint. I had not watched or mirrored anyone using painting techniques, as I had always focused more on drawing. So, when I started painting, I was mostly on my own, making mistakes and practicing through trial and error. Navigating painting without guidance was truly challenging.

However, I began to realize I was making progress when I compared my work to that of professional painters. It became clear that I had started to get the hang of it, and that gave me the confidence to keep going.

WHAT DO YOU HOPE VIEWERS TAKE AWAY FROM EXPERIENCING YOUR WORKS?

When people view my work, I want them to feel seen. I believe it is a powerful and fulfilling experience to be acknowledged, to know that you are not alone.

We often find reflections of our experiences in music and movies, and I want my art to offer that same sense of connection. My artworks are reflective, and my goal is for people to see themselves in them; to recognize their emotions, struggles, and stories within the visual language I create.

ARE THERE ANY PARTICULAR ARTISTS THAT HAVE INFLUENCED YOUR WORK?

Different artists have influenced my artistic journey in meaningful ways. One of them is Julius Agbaje, a surrealist artist. When I first encountered his paintings, they felt so familiar—almost like extensions of my own thoughts. I immediately thought, I should be doing this. He influenced me from afar, inspiring me to embrace surrealism more deeply.

Another important influence is Prince Adelakun, from whom I learned the value of drive, ethics, and commitment in the life of an artist. His discipline and approach to the creative process shaped how I view my practice.

Ken Nwadiogbu also had a significant impact. He evolved from drawing to painting and was self-taught. What stood out to me was his audacity to explore new paths—transitioning from engineering to becoming a full-time artist. His journey made me feel seen and reassured me that I wasn’t crazy for making my own bold decision. His willingness to experiment and not remain stuck in one medium encouraged me to do the same.

I was also deeply influenced by my friend Yusuf Abiodun, of blessed memory, who passed away in 2023. His friendship and support were part of my foundation as an artist, and his memory continues to inspire me.

ANY OTHER WORDS?

I want more artists to be simultaneous in their approach to the industry. It’s important not to focus solely on craftsmanship or pushing the boundaries of your creative skill. Artists should also take the time to understand how the industry works; seek out information, be curious, and stay informed.

In addition, artists should read more broadly and expose themselves to ideas beyond their immediate discipline. Let your mind expand. This kind of exposure will help you tell richer, more nuanced stories.

Make friends with people outside your creative field. Watch films, listen to music, explore the world around you, and most importantly, work on your mind. A well-rounded perspective makes for powerful and lasting art