We, as Africans, have always told stories and communicated via art forms whether it be through songs and music, or sculptures and paintings.
Despite this, there is hardly any representation of great, contemporary African artwork in the international art market. I find this astonishing given the amount of amazing pieces I have seen myself when at home and in other African countries from Nigeria and Ghana, to Mozamique, Kenya, South Africa and more . There is also an overwhelming amount of fantastic art overseas within the African diaspora that is not exhibited enough. How has the global art market not yet clocked on to this especially in comparison to growth of other art markets such as Asia?
I realised that some of this may be due to a lack of information and exposure to modern and contemporary African art and its artists. There is an abundance of talent, but not enough platforms that show or speak about it. Nor is there enough representation between the artists themselves and potential buyers. So I decided to create The Afropolitan Collector.
The Afropolitan Collector is an art consultancy platform that provides fresh insights into buying, selecting and acquiring modern and contemporary work from Africa and its diaspora.
We work with auction houses, galleries and independent artists to help clients seek and select modern and contemporary African art - including paintings, drawings, photographs and sculptures - for their home, business or personal collection.
Whether you are an experienced collector or brand new to modern and contemporary African art, we want you to use The Afropolitan Collector as a tool, reference and an informative guide to enjoying and experiencing art from Africa and its diaspora.
"The love of beauty"
The Afropolitan Collector logo is made up two nsibidi symbols that depict 'love' and 'beauty' translated in modern language as: 'the love of beauty'.
Believed to be several centuries old, nsibidi icons have been found on excavated pottery, ceramic artefacts and headrests dating back to periods ranging between 400 and 1400 CE in the Calabar area of Cross River State, Nigeria.
Being Africa’s oldest scripted form behind hieroglyphics, nsibidi has been used to document history, celebrate people’s heritage, instruct values, reinforce communication, deliberate on key issues, and resolve conflicts of love and war.
Though it is indigenous to the people occupying the southeastern region of modern Nigeria, nsibidi was more commonly associated with the Ejagham people of northern Cross River State where it is believed to have spread to surrounding ethnic groups like the Ibibios, Efiks, and Igbos, influencing their art forms and undergoing notable transformation in the process.