Edirin John captures Myths, Maternity and Meaning

Photographer Edirin John’s works stand as profound meditations on the Nigerian condition, particularly as they relate to the experiences of women. From tackling deeply personal and painful themes such as loss and miscarriage in maternity to exploring the rich tapestry of myths and superstitions surrounding pregnant women, his art captures both the intimate and the universal. It’s no surprise that his projects have resonated with art collectors, critics, and audiences worldwide, garnering widespread acclaim for their emotional depth and cultural authenticity.

But what shapes such an artist—one whose work so deftly balances empathy, artistry, and cultural commentary?
Edirin John’s artistic journey began, not with an inherited love for art or a family steeped in creativity, but with an image—a singular, transformative moment. It was 2011 when a photograph taken by a friend, Winnie Orekoya, struck him with such force that it altered the trajectory of his life. “From that day, I knew my destiny was attached to the camera,” he recalls. This epiphany, however, wasn’t the true beginning. That came earlier, in 2005, though he wasn’t yet aware of what he was building. “I started this journey unknowingly,” he admits. “But after seeing that image, I knew art would be the path I would eventually follow.”

John’s story is not one of natural artistic inheritance. He grew up in a family detached from art, a household where creativity was neither cultivated nor particularly encouraged. Yet, this lack of a familial artistic lineage didn’t deter him. It was during his undergraduate studies that he began to shape his craft. Under the mentorship of Winnie Orekoya, he took classes and started experimenting with his own creations. His big break came when he formally joined Winnie Orekoya Photography, an experience he credits as the true ignition of his artistic journey. From that point forward, his life became inexorably intertwined with the lens and the stories it could tell.

John’s work resonates deeply with his audience because it reflects not only his personal journey but also universal themes of fear, identity, and cultural pride. His Ghost Series stands out as a particularly poignant example. “The series has been widely accepted,” he says. “Especially by people who were scared of ghosts as children.” The photographs, imbued with a haunting yet soothing quality, aim to transform fear into understanding. For John, the series was personal—a way to confront his own childhood terrors and reframe ghosts as symbols of beauty and realness rather than dread. “I wanted to create something that would calm the mind and shift the focus from fear to comprehension.”

Equally celebrated is his Yoruba Hair Series, a project born of curiosity and cultural exploration. As a self-described “Warri boy” from eastern Nigeria, John had limited knowledge of Yoruba traditions. During a visit to Lagos, he encountered a hairdresser whose craft captivated him. “She was making someone’s hair and had other pictures around her shop. I started asking questions, and she agreed to recreate the styles for me to document.” The resulting photographs are not just an homage to Yoruba women’s hairstyles but a celebration of identity, craftsmanship, and adornment.

John’s work is deeply inspired by the artistic giants of West Africa, including Nigeria’s Mufu Onifade and Ghana’s Gilbert Anthony. “Their works are super creative and have strong connections to viewers,” he says. This connection is a hallmark of John’s photography. He seeks to create images that are relatable, that allow viewers to see themselves in the situations he captures. “I want people to always see themselves in the reality of each image,” he explains. Whether tackling childhood fears or celebrating cultural beauty, his work is infused with empathy and a desire to evoke shared human experiences.

John’s work has graced the walls of prominent galleries, including Madeke Gallery in London, Andakulova Gallery in Dubai, and One Art Gallery in Nigeria. Yet, he shows no signs of slowing down. His latest project, Child Protection, is as thought-provoking as his previous works. Inspired by a Nigerian tradition where pregnant women pin safety pins to their clothes to ward off evil spirits, the series is both a commentary on cultural myths and an exploration of maternity and protection. Slated for completion in the first quarter of 2025, John plans to debut the series in an exhibition that will further cement his reputation as a storyteller with a camera.

At the heart of Edirin John’s work lies a singular driving force: the joy of creation. For him, art is not merely a profession but a calling, a way to give form to the intangible and to connect with others through shared emotions and stories. His work continues to bridge the personal and the universal, transforming fears into beauty and culture into celebration. As he prepares for his next exhibition, it’s clear that John’s lens will continue to challenge perceptions, evoke empathy, and celebrate the complexities of human experience.