SOLDIER is a Nigerian-born, London-based artist who began making art at a young age and, at 16, left home and supported himself by selling drawings. Seeking a fresh start, he relocated to London, where he couch-surfed, skated, and attended university, where exposure to established art institutions expanded his perspective.
He continues to develop a multi-disciplinary practice and has produced collaborative projects with Louis Vuitton and Nike.
Full segment featured in Issue 13 of Living Proof Magazine
Was there a moment you took skating seriously?
Definitely. My real dive into creative work happened at Waffles and Cream, a skate shop in Lagos, alongside friends like Slawn and Onyedi. We formed a skate collective called Motherland, designing decks, making T shirts, and organizing small shows. We were inspired by Western skate culture, but Lagos did not have the infrastructure. We skated on rough ground, learned from videos, and had no mentors. We were building something from nothing. We thought we could become professional skateboarders, but there was no blueprint for pursuing skateboarding or art professionally in Lagos. That early scene had startup energy, but it also came with pressure. At one point I was homeless, couch surfing and moving from place to place, questioning whether creativity could ever become a sustainable living.
What was it like growing up the eldest son in a priest’s household?
Heavy. Everything I did felt taboo. My parents valued academia, doctor, lawyer, engineer. Being the eldest, you carry the name and set the example, but no one explains how. When I ran away, my dad disowned me. He saw the piercings and skateboarding as rebellion and thought I was wasting my life. That isolation shaped me. I had to learn boundaries, social cues, and independence without guidance. There was no Instagram or YouTube. You had to go outside and figure it out. The world was unforgiving.
What led you to leave Nigeria and move to London?
I had skipped two grades and entered university at sixteen, but I was not attending classes. My dad checked my results once and saw zero attendance. Things were intense at home. London felt like a fresh start and a real opportunity. A lot of people my age were moving there, and I eventually received a scholarship. When I arrived, it did not feel like culture shock. It felt natural. I was young, skating, experimenting, building community, sleeping on couches, trying to figure things out. Different eras of my life came with different names and identities, but each one shaped my artistic direction.
How did your artistic identity evolve?
Skateboarding was my gateway into contemporary art. At first I was not thinking about fine art. My early inspirations were KAWS, Koons, Hirst, and Supreme. I wanted to build a recognizable signature and work with brands. Then school opened me up to institutions like The Met and MoMA, and artists such as Rothko, Brancusi, and Kara Walker. Seeing artists who built lasting work instead of chasing hype shifted my mindset. The Internet gives visibility quickly, but history gives longevity. I want that historical weight. I want to exist between digital culture and traditional art institutions.
Some artists wait years for recognition.
Exactly. If you choose to be an artist, you give up security. If I wanted money, I would go into finance. Art requires you to look inward and detach from external validation. That is when the real work happens.
What are you focused on now?
I recently secured my global talent visa, and the UK Arts Council recognizes me as a leading talent. That allows me to stay in the UK, work freely, and build long term. Now I want to open a design studio. I love painting, but I am equally passionate about furniture and homeware. Art has become a luxury space. Design operates on multiple levels, from high end to accessible. A Leica camera or even an ashtray carries both function and identity. I want to create objects people live with, not just observe in galleries. Clothing feels saturated, so I stepped away from a fashion concept I was developing. If I approach clothing again, it will be through upcycling. Design feels aligned with where I am heading. It is the intersection between function and art.
Read the full interview in Living Proof Magazine Issue 13, available on the Living Proof Patreon and Online Shop.
Photography by Mark Custer
