Nurturing nature, nourishing human placement in Oyinbokure’s lens

Whether you pursue photography as a hobby or as a professional photographer who creates fine art on the side, making fine art photography differs from other photography disciplines — creating high-quality fine art photography prints is important for success because it’s driven by the artists’ interests, ideas, and personal goals.

This statement perfectly fits what Michael Oghenekaro Oyinbokure, a Nigerian multidisciplinary artist and photographer, is doing. His art is not defined by commercial purpose, as he engages audiences with a significant measure of philosophy, exploring African identity in a globalised world.

He combines digital and traditional media to confront themes of resilience, migration, and belonging, offering a fresh perspective that avoids the predictable tropes often associated with African identity.

His photography overlaps with landscape, portraiture, and many other styles of capturing images. But he has developed his own unique technique.

This writer first encountered Michael’s work in September 2024 shortly before The Holy Art Exhibition in Amsterdam, which held between September 5 and 8.

The soft copies of his works sent showed an artist who interrogates human condition with his lens. Using the three basic types of photography techniques: landscape, which depicts natural environments; portrait that shows an emotional connection between the subject and photographer and documentary that tells a factual story through images without manipulation, he reaches the heart of human construct.

Different from photojournalism or commercial photography, his images breathe. Whether landscapes, portraits, still lifes, or abstract, they document the truth with minimal bias.

To tell this truth, photographer and teacher, Tina Tryforos, suggests focusing on “compelling content that pulls the viewer in, really good composition, and beautiful light.”

This is what Michael does exactly with his camera. His background in computer science and project management does not seem like an obvious starting point for an artist, but they have a surprisingly significant influence on his work.

“Computer science has taught me how to break down complex problems into manageable chunks, a skill I apply to art when working through intricate concepts. Project management, meanwhile, has grounded me in practical constraints—deadlines, resources, and project scope,”he says.

Through photography, Michael captures unguarded, candid moments that echo universal themes, yet remain firmly rooted in the African experience.

His images reveal layers of cultural heritage, reframed within the context of modern urban life, highlighting the nuanced intersections of tradition and contemporaneity.

In one of the images, that of a woman standing in water, Michael’s lens interrogates the subliminal. Titled, Bloom, there is a radiant depiction of triumph and strength, where golden hues embrace the essence of resilience and power, celebrating beauty in colour and spirit.

He presents a figure soaked in nature: people, place and human condition; however, not forgetting that they must have an aesthetic draw, well constructed and crafted, and are visually appealing.

For him, photography is less about artifice and more about authenticity, enabling him to challenge reductionist views and capture African identity as an evolving, multi-dimensional experience.

International audiences have responded to this approach, with Michael’s works being showcased at major exhibitions, including The Holy Art Exhibition in Amsterdam (2024), the Holy Art Exhibition in Paris (2024), the Circular Art Space in London (2024) and Our Heritage at London’s Sociable Mooring Club (2023).

His artistic prowess has also garnered critical acclaim as a finalist for the Circa Art Prize and the London Dubel Prize, recognitions that affirm his distinct ability to portray African identity with both sensitivity and complexity.

The best fine art happens when artists explore the topics that they’re passionate about. “Fine art photos can acknowledge the politics of representation and materiality,” notes photographer and professor, Ariel Wilson.

As the artist, it’s up to you what ideas you want to pursue and explore, but it’s easier to create worthwhile work when those ideas are important to you.

For Michael, “the balance between tradition and modernity is a delicate one. My heritage is such a core part of who I am, and it’s impossible for it not to influence my work—whether in the techniques I use or the themes I explore. But I also live in a rapidly changing world where digital tools offer exciting possibilities for reinterpreting tradition.

I see these elements not as opposites but as a dialogue—one that gives my work a relevance and vitality that keeps it connected to both the past and the present.”

He adds, “as a Black African migrant, my work is an exploration of identity across boundaries. African identity is not a singular thing — it’s complex, multifaceted, and ever-evolving. In my art, I explore the tension between pride in heritage and the realities of being defined by stereotypes or assumptions. I want my audience to see the depth and richness of African identity, which is often reduced to a monolithic narrative.

Through migration, displacement, and the blending of cultures, my work speaks to the adaptability and strength inherent in African identity today. I hope my audience engages with these themes and sees the universal nature of the search for identity, belonging, and self-definition.”

One piece that stands out for him is the one he created to reflect the migrant experience—an experience that blends both visible and invisible journeys. It’s a meditation on resilience, capturing the struggle of migration not just as a physical movement but as an emotional and spiritual journey. The gold elements in the piece represent those moments of light—the small victories, the fleeting sense of hope—that push you forward.

In Journey Mercies, he honours the spirits with dominant hues and brings elements of elegance and mystery to the black figure. Before him lies the symbolism of identity and purpose. Tethered to the weight of his roots yet propelled by an unyielding vision of hope, he reflects a legacy too profound to be forgotten.

Brimming in confidence and strength, his back, straight as an ancestral spine, he honours the origin and resilience of the black spirit and a testament to a journey not just of miles, but of spirit.

Through this piece, he hopes viewers connect with the ongoing process of resilience, and for those who share this migrant experience; “I hope they see their own story reflected in it.”

Resilience, for him, is the quiet force that holds everything together. It’s not about being invincible; it’s about continuing when it feels impossible. As a migrant, resilience has been something I’ve lived through—something I carry in my art. It’s not just a concept I choose to explore; it’s a reality that has shaped every part of my journey. I’ve faced moments of doubt, but each of those moments has added depth to my understanding of resilience. By portraying it in my work, I want others to see that it’s not about being unbroken but about finding strength even when things seem fractured.

Photography, for me, “is both instinctual and reflective. It allows me to capture moments as they are —raw and unfiltered — but also allows me to reflect on what those moments feel like. Unlike project management or other forms of art, photography forces me to be present, to respond to what’s happening right before me. It has a way of capturing unspoken stories—small, intimate details that might be lost in the rush of daily life. It’s in these unpolished moments that I find the most powerful narratives.”

He continues, “when people engage with my work, I hope they feel something beyond just an aesthetic appreciation. I want them to connect with the story behind the piece—whether it’s a feeling of empathy, nostalgia, or even discomfort. Photography captures layers that aren’t always immediately visible, and if my work makes viewers pause and reflect on those layers, then I’ve succeeded. Impact is a bit harder to measure, but I pay attention to how people react in the moment and what lingers after they’ve seen the work. It’s about creating a resonance that sticks with them.”

Oyinbokure is excited about exploring what it means for a Black artist to journey and explore the world in ways that challenge conventional narratives. “I want to tell stories that go beyond the typical portrayal of Black individuals as victims or outsiders. My upcoming work will delve into the legacies we carry with us—whether from ancestors, migration, or shifting cultural landscapes. In the coming years, I see my work as a bridge between different cultures, and I hope to inspire others to explore the world from a place of curiosity and authenticity.”

Living and working in Lagos and London has taught him to appreciate both contrast and connection. Lagos has given him the energy of chaos, the beauty in movement and unpredictability, while London has taught him to focus on subtleties and quiet details. “These cities offer me different lenses through which to see the world, and they’re both an integral part of how I tell stories in my art. Each city influences my narratives, blending the vibrant with the introspective,” he says.

On how his work will contribute to the wider conversation, he had this to say: “Absolutely, my art is social commentary. Through my photography, I aim to challenge the stereotypes surrounding migration and to highlight the resilience, complexity, and beauty of migrants’ lives. I want to shift the narrative around migration, showing that it’s not just a story of struggle but one of strength, adaptation, and hope. By focusing on the humanity of those often marginalised, I hope to contribute to a broader, more compassionate conversation about identity and belonging.”