My Three-Month Residency: What Happened Beyond the Studio — Ozangeobuoma

Ozangeobuoma

After three months in Assinie, Côte d’Ivoire, Nigerian artist Orlu Ozangeobuoma is preparing to return home. As artist-in-residence at Eklomiabla, a creative and cultural residency space, he developed Love–Amour, his first international solo show, featuring about 30 oil, acrylic and mixed-media works, which explore themes of identity, memory, and heritage. On display at the Galerie Amani till June 27 this year. The exhibition marks the conclusion of his residency. In this conversation with Udemma Chukwuma, he reflects on his stay.

With some of his hosts

This is your first solo exhibition outside Nigeria. What hit you most when you saw your art on the wall in another country, nerves, pride, or “wait, is this real”?

Working in the studio

 Seeing my artworks on the walls of a gallery outside Nigeria was a mixture of gratitude and disbelief. For years, I have dreamed of taking my art beyond my borders, and standing there watching people from another country connect with my work made me realise that art truly has no boundaries. The nerves were there, but the pride and excitement quickly took over. This moment would not have been possible without the support of Eklomiabla and Galerie Amani, who believed in my vision and provided a platform for this important milestone in my career.

Your work is rooted in Nigerian culture. What part of your identity did you have to explain most to this new audience?

I found myself explaining aspects of my Nigerian background, especially how my cultural experiences influence my visual language. My use of stylised figures, bold forms, and symbolic storytelling often sparks curiosity. Many visitors were eager to learn, and I was happy to share. Art became a bridge between cultures

What is one thing international viewers noticed in your work that Nigerian audiences never mention? Any piece they read totally differently?

One thing that surprised me was how much the audience focused on the emotional expressions and symbolism within my figures. Nigerian audiences often relate immediately to the cultural elements, while viewers here spend more time discussing the emotional narratives. Some works were interpreted in ways I had never imagined, which reminded me that art belongs partly to the viewer.

In the workspace

The residence

Did being in a new country change which pieces you chose to show? Was there art you made in Nigeria that you decided wouldn’t “translate” here?

Being in a new country made me think carefully about the work I wanted to present. I selected pieces that carry universal themes, especially love, human connection, self-confidence, and humanity. While my works are deeply rooted in Nigerian culture, I wanted them to speak to people regardless of language or nationality.

International shows aren’t cheap: shipping, visa, and flights. How did you fund this first trip? Any advice for other artists who think “abroad is only for big names”?

International exhibitions require serious commitment. Flights, accommodation, logistics, and exhibition preparation all cost money. I funded much of this journey through personal investment and support from people who believe in my vision. My advice to artists is not to wait until they become famous before exploring opportunities abroad. Sometimes you have to invest in yourself first. Travel, attend residencies, network, and expose yourself to new environments. Growth often begins when you step outside your comfort zone.

Beyond money and language, what’s one “small” struggle that caught you off guard?

With guests at the opening 

One challenge I didn't fully anticipate was adapting to a completely different system and pace of operation. From coordinating installation schedules to understanding gallery logistics, many small details required patience and flexibility. It taught me the importance of preparation and adaptability.

International art is also about who you meet. What’s one connection you made at this show that you couldn’t have made from Nigeria?

One of the greatest benefits of exhibiting internationally is the opportunity to meet artists, curators, collectors, and cultural organisers from different countries. These are connections that would have been difficult to make from Lagos alone. I start conversations simply by being open, introducing myself, discussing my work, and showing genuine interest in what others are doing.

 Witt Nathalie Varley Meplon, owner of Eklomiabla, & a guest at the exhibition opening

First time away from your studio this long, are you homesick for Lagos, or is the new environment pushing your creativity? What do you miss most?

I miss Lagos, my studio, my family, and the familiar energy of home. But at the same time, this experience has been incredibly inspiring. Being in a new environment exposes me to different perspectives, cultures, and artistic conversations. It has

You don’t speak French, and this is a Francophone country. How are you coping with the food, moving around the city, and basic communication? Any “lost in translation” moments that made you laugh?

The language barrier has definitely been an adventure for me. I don't speak French fluently, so I rely on translation apps, gestures, and the kindness of people around me. There have been funny moments when I ordered food and got something completely different from what I expected. Those experiences have become part of the journey and have given me stories to tell.

Has anyone actually bought/sold your work here yet? For artists back home, what’s the one thing you wish you knew about pricing and selling art internationally before you came?

With LouiSimone of  Guirandou Gallery

Yes, there has been strong interest in the exhibition, and that is encouraging. One lesson I wish I had understood earlier is that international pricing is not just about the artwork itself; it also includes your professional presentation, documentation, story, and consistency. Artists should learn the business side of art alongside the creative side.

After this show, what's next?

After Love-Amour, I want to continue building international collaborations, participating in residencies, and creating projects that connect African stories with global audiences. I am also exploring new themes that address humanity, social issues, and our shared future. 

If an artist in Nigeria DM’s you, “Should I try exhibiting abroad?” what would you tell them? 

If an artist in Nigeria asked me whether they should exhibit abroad, my answer would be yes. Start preparing now. Build your portfolio, apply for opportunities, save money for travel, and believe in your work. Don't wait for someone to discover you. Sometimes you have to take the first step yourself. The world is bigger than your immediate environment, and your art deserves to be seen.

Beyond the Studio: My Three Months' Residency Story — Ozangeobuoma