Kayode Adegbola, Esq., is a dynamic force at the intersection of law, business, and the arts. With a Bachelor of Laws from Queen Mary, University of London, and advanced studies at the London School of Economics and Harvard Kennedy School, he has built a distinguished career spanning litigation, commercial advisory, and public sector initiatives—including key roles in the $70 million Lagos State Employment Trust Fund and a $4 million UNDP partnership. As an investor in over 20 high-growth tech companies, a board chair for Fez Delivery, and a trustee for multiple non-profits, Adegbola has also channelled his passion for creativity into producing art exhibitions since 2010, founding The Vault Artist Residency, and contributing to Nigeria’s pavilion at the 2023 London Design Biennale.
In this interview, Adegbola discusses the launch of his latest venture, ADEGBOLA Gallery—a space dedicated to championing resonant African art while fostering critical dialogue and cultural infrastructure. From the gallery’s curatorial vision to the upcoming “Heroes Past” exhibition honouring Nigerian nationalists, he shares insights on building lasting value in the art world.
What inspired you to launch ADEGBOLA Gallery, and why now?
Launching ADEGBOLA Gallery is the next stage of evolution in my years of engagement with the art world—as a photographer, collector, and cultural entrepreneur. Now feels like the right time because Nigeria is at an inflection point. A generation of artists, collectors, and audiences are maturing simultaneously. I wanted to create a community that responds to the moment—by elevating critical dialogue, finding and showcasing exceptional work, and building lasting value around our culture.
How would you describe the gallery’s mission and curatorial vision?
Our mission is to champion rigorous, resonant art from Nigeria and the wider African continent, through thoughtful exhibitions, collector engagement, and long-term artist support. Curatorially, we are drawn to practices that are rooted, reflective, and formally ambitious—work that rewards contemplation and resists easy consumption.
What sets ADEGBOLA Gallery apart from other art spaces in Nigeria and beyond?
We are building a gallery that operates with international standards but is deeply anchored in local relevance. What sets us apart is our long view—we see the gallery not only as a commercial space, but as a civic actor. From public art and publishing to artist development, our focus is on infrastructure, not just inventory.
What criteria guide your artist selection?
We look for artists with distinct voices, a serious commitment to their practice, and the potential to sustain growth over decades. Beyond technical skill, we value critical thinking—artists who are asking questions that matter, and whose work sits in conversation with global art history while remaining unapologetically local.
What conversations are you hoping to spark with Heroes Past?
Exhibiting portraits and busts of Nigerian Nationalists will not only explore the stylistic expressions of master Nigerian artists, it will also encourage audiences to learn more about how Nigeria came into being. Heroes Past will include paintings and sculptures by Akinola Lasekan, Uche Okeke, Ben Enwonwu, Lady Head, Oyerinde Olotu, Rufus Ogundele, Doreen Kern, as well as archival images and related paraphernalia. I’m really excited about it because of the combination of beauty, historical relevance, and educational value.
What does Heroes Past mean to you personally, and how did the concept evolve?
Personally, Heroes Past emerged from a constant desire to do things differently. My dream is to have the exhibition roam through museums across the country, so this is in fact an early iteration of the grand idea. I believe in starting small and growing organically.
What are your long-term ambitions for the gallery?
To establish a gallery of enduring importance—intellectually, commercially, and culturally. I want ADEGBOLA Gallery to be a key institution in defining what serious engagement with African art looks like, both in Nigeria and on the global stage.
How do you see the gallery contributing to or shaping the Nigerian art ecosystem?
Locally, by nurturing artists, commissioning critical writing, and deepening collector engagement. Internationally, by advocating for Nigerian and African voices on equal terms—not as tokens, but as peers. We want to shape perception, practice, and power in the art world.
What kinds of partnerships or collaborations would you most like to pursue through Adegbola Art Projects?
We’re interested in partnerships that align with our values: cultural depth, intellectual rigour, and long-term vision. That could mean collaborating with museums, biennales, or brands—but always with integrity. We’re also keen on cross-disciplinary projects that bridge into passion areas like film, architecture, and publishing.
What do you collect personally, and what draws you to a work?
I collect across styles and eras, and beauty is usually the starting point. I am also always drawn to work that holds depth—something that reveals itself over time. Historical context and well-considered themes also attract me.
What impact do you hope to make through this next chapter—for yourself, for artists, and for audiences?
For myself, I want to build something that endures and uplifts. For artists, I hope to provide space and support for long-term growth—not just exposure. And for audiences, I want to offer encounters that are transformative: that provoke thought, offer beauty, and deepen our sense of who we are and who we might become.
