Horcelie Sinda in Conversation with Promise O’nali

London-based, Nigerian artist Promise O’Nali’s visual and auditory storytelling explores themes of self, identity and migration. His paintings, particularly portraits, depict his experiences throughout Nigeria and the United Kingdom. Influenced by his Igbo heritage, his work evokes notions of consciousness and reveal inner conflicts.

Promise O’nali in his studio. Photo Courtesy: Roji Vargheese.

Since his first solo show, ‘Falling into Dream’, O’nali has been experimenting with sound. Inaugurating a new medium had allowed him to further expand his discussion on identity. The combination of sound, music, and painting is a reflection of the artist's inner turmoil, and has led to his second solo show, ‘From London with Love’. The exhibition represents O’nali’s personal and profound experience in London while revealing the societal pressure of masculinity. In this show, O’nali invites the viewers to perceive his struggles of growth, self-doubt, and the complexity of identity. His new body of work is a tool in which he reveals the challenges of his mental state in London.

Promise O’nali, Dear mother, times have changed, 2024, Mixed media on canvas, 36” x 36”. Photo Courtesy: the artist. 

Horcelie Sinda: Can you explain the depiction of your subjects with closed eyes?

Promise O’Nali: I am looking at self reflection, contemplating my journey so far and the impact of my environment on my personal unfoldment. This is also evident in some of the songs I wrote, especially the vent series, which explore the subject of self reflection and societal expectations for black men and how we have to deal with depression in the name of being a man.

HS: What inspired the title ‘From London with Love’ ? 

PO:  It was inspired by some of the conversations I’ve had with my mother since moving to the United Kingdom. They’ve brought a fresh perspective to my worldview regarding life, love, culture and work. We’re being bred to believe that we are not living for ourselves. We play second fiddle to ourselves, putting family, religion and society first. This exhibition is about the subtle shifts in consciousness I have been having since moving to the UK and this has inspired me to find other creative outlets to express myself, and music has become an art form I have fallen in love with. 

HS: The African Centre is an organisation pioneering ‘Independent Africa’ and empowering African narratives in London. Notable politicians, writers, activists and artists such as the late, former first lady of Zimbabwe, Sally Mugabe, Ben Okri, and Wole Soyinka have contributed to this discussion. As a Nigerian artist, how does ‘From London with Love’ contribute to the discussion of Independent Africa in the diaspora? 

PO: ‘From London with Love’ is kind of like a nonfiction story about a young Nigerian who moved to the UK to pursue his dreams of being a big artist. It follows ongoing conversations about the “japa consciousness” which a lot of young Africans are experiencing currently. The African economy has not been favourable to a lot of young entrepreneurs as well as other sectors of the economy, and so a lot of people are looking for avenues to leave the country, both legally and illegally. This conversation is woven around the bad economic situation, and, yes, the political system has not made it any easier for people with low income backgrounds. This is coupled with the ideology that you only get the best when you leave the country. This cuts across all aspects of life. The exhibition explores this conversation which will not be going anywhere until the economy becomes a lot more stable in Africa.

HS: How have you referred to the city of London in your paintings and music?

PO: The show is mostly about the spirit of London, which in my opinion has not been so different from the spirit of Lagos. The resilience of the city is found in its many inhabitants which cuts across all walks of life as well cultures. This somewhat textural atmosphere has inspired me to create the body of works which consists of the paintings of majorly semi abstracted faces and the music that accompanies them. One of the first songs I wrote was ‘Get with the Program’ which I loved writing—although it took me a while—but it was really about the city not letting you wallow in your downfalls. Taking an excerpt from the lyrics: “This is London, we don’t stay down, whenever we fall down, we dust our ass off and we get with the program, we get with the program.”  

Promise O’nali, Shoreditch series (1), 2024. Mixed media on canvas, 36 x 36 inches. Photo Courtesy: the artist.

Here, the spirit of doggedness is emphatic and that’s exactly what London is about, and this is what I have tried representing with my paintings of people because the city is actually nothing without the people that make it what it is. This hardworking pot of a conglomeration of people from all over the world, coming to put their hands on deck to make a better life for themselves as well as contribute their quota to making the city a better place. One can’t really experience London without experiencing the people, the stories, the hydra-headed cultures and philosophies embedded in this beautiful entity called London.

HS: Why have you chosen to depict imaginative subjects rather than real people from the streets of London?

PO: The subjects depicted in the paintings started with me being my own muse, so I took some photographs of myself and decided to play with them, subsequently I started taking bits from different subjects to create my work. I find that it’s a bit interesting to take elements from different subjects to create someone entirely new. This way I get to explore the dynamics of different people in one painting. I think it also lends itself to the idea of multidimensionality of the city and its pot of people from different backgrounds. In this exhibition, I wanted to explore my story through the lens of people who have gone through similar experiences, and so I think taking a little bit of this and a little bit of that helps to make my story a lot more interesting because at the end of the day, it’s no longer just about me, but about the many people who have experienced similar situations as well as the people who will be coming up to experience these situations later. The initial story is a nonfiction about “Maduabuchi”, but I find that this “japa story” is an ongoing conversation that has been pushed because of the economic situation in most parts of the world. We all know that living and making money in London is not an easy fit, but it has become a sort-of haven for a lot of people who would rather push themselves the best way they can rather than stay in a place that they don’t feel comfortable and welcome.

Promise O’nali, Las las, everybody go dey alright, 2024. Mixed media on canvas, 36 x 36 inches. Photo Courtesy: the artist.  

HS: How does your exploration in this exhibition involve an on-going dialogue with the self, masculinity and fragility?  

PO: Through a fusion of visual art and music, the exhibition delves into the psychological, emotional, and financial burdens placed on men in modern society. These pressures, often unspoken yet deeply felt, shape their experiences, identities, and struggles, sometimes reducing them to mere shadows of their former selves. At the core of this exhibition, I am exploring the expectations society places on men—expectations that dictate strength, resilience, and success, often at the expense of vulnerability, self-expression, and mental well-being. From childhood, men are conditioned to suppress emotions, carry financial responsibilities, and maintain an image of unwavering stability. These rigid ideals create an internal conflict: the demand to perform versus the need to heal. The artworks reflect this tension, capturing the silent battles fought behind closed doors, the silent cries beneath stoic faces, and the silent longing for connection in a world that demands endurance. Each piece within the exhibition tells a story—stories of struggle, of lost dreams, of triumph, and of the quiet moments in between. The paintings, layered with symbolism, abstract forms, and intricate textures, mirror the complex layers of masculinity in today’s world.  

‘From London with Love’ will take place at the Africa Centre, London SE1 0BL from 25th April-10th May 2025. 

Horcelie Sinda

Contributing Writer, MADE IN BED