Samuel Semako Vittu | In Conversation with the Artist | Interview

Portrait of Samuel Semako Vittu. Photograph courtesy of the artist’s collection.

“Where Eden Was Last Seen” centers on the emotional and environmental toll of forced migration—driven by natural disasters, conflict, and banditry. What specific experiences from both the animal kingdom and the human world have affected you most deeply and inspired this theme? Is there a particular animal whose experience of migration, loss, or resilience resonates strongly with your creative vision?

As a child, I often spent holiday breaks with my grandmother, who kept a number of livestock. Caring for the animals became part of our daily routine—a formative experience that quietly shaped my relationship with the natural world. One morning, we awoke to find that one of the cows had died overnight due to flooding. That moment, though I was still a teenager, deeply affected me. It marked a turning point in my awareness of environmental vulnerability and loss. In many ways, the roots of this project trace back to that experience—it was the quiet beginning of a personal and creative reckoning. That experience planted a seed—an awareness that would later evolve into the conceptual foundation for Where Eden Was Last Seen. The project explores the tension between memory and loss, presence and absence. It is about landscapes—both physical and emotional—that once offered a sense of belonging but have since been altered, erased, or displaced.

Today, the gap between human and animal experiences seems wider than ever. Do you believe that people can still empathize and reflect by engaging with animal figures in art? Do you feel that art can play a role in shaping public empathy—or even influencing policy—towards issues like climate-induced migration?

By drawing viewers into a constructed yet familiar natural environment, this installation aims to evoke questions about what "Eden" means in contemporary terms. Is it a place we’ve lost, a future we fear, or a myth we continue to chase? Through this work, I hope to create a space for contemplation, mourning, and ultimately, reconnection. In situating viewers within this ambiguous space—at once comforting and unsettling—the installation seeks to prompt contemplation about our collective memory and imagination. It becomes a site where mourning the environmental degradation of our time coexists with a yearning for harmony, balance, and renewal. Ultimately, the work is an invitation: to pause, to grieve, and to begin the difficult yet necessary process of reconnection—with the natural world, with each other, and with the stories we tell ourselves about where we come from and where we’re going.

Your anthropomorphic portraits present animals as mirrors of human morality and consciousness. What qualities do you think humans could learn from the animal world?

Animals exist within complex ecosystems where every species plays a role. Unlike the human tendency toward domination or extraction, many animals live in balance with their surroundings. Observing this can remind us of the need for mutual support and respect across species and within human communities.

Many animals communicate without words—through gesture, movement, scent, and sound. In observing these subtle exchanges, humans are invited to expand their own capacity for empathy, to listen more carefully to the unspoken, and to acknowledge intelligences beyond language.

In your Eden, the animal world doesn’t serve merely as a backdrop—it becomes a teacher, a guide, and a mirror. It suggests that reconnection is not only about returning to a place, but also about recovering lost ways of being: intuitive, relational, cyclical, and humble. These qualities offer a counterpoint to modern disconnection and a possible blueprint for reimagining paradise not as something lost or distant, but as something still within reach—if we choose to learn from the world we’re part of.

Samuel Semako Vittu | Whispers of Eden, 2024 | Acrylic and oil on canvas, 137 x 169 cm

How do you visually weave together the themes of environmental degradation and human displacement in your paintings—whether through imagery, color choices, or compositional techniques?

In my paintings, I approach the themes of environmental degradation and human displacement through a symbolic and layered visual language. I often use anthropomorphic figures to represent both human and non-human entities, creating a shared emotional space that emphasizes interdependence and vulnerability. These figures are sometimes placed in fragmented or barren landscapes—visual metaphors for ecological loss, disrupted belonging, and the haunting aftermath of violence.

For instance, the tragic killings in Benue State, Nigeria, and the devastating floods in China are situations that deeply inform my work. These crises underscore the precariousness of life at the intersection of environmental collapse and human conflict. In my compositions, the pain of these realities is encoded in the terrain—scarred fields echoing Benue’s trauma, and submerged architectures reflecting China’s drowned communities. These are not direct portrayals, but poetic evocations that allow personal and collective grief to surface.

Color plays a crucial role in setting the emotional tone. Muted earth tones often signal desolation or decay, while richer, saturated hues suggest memory, hope, or spiritual resonance. I also use composition to guide the viewer’s journey: placing figures in transitional spaces, between departure and arrival, or within dreamlike, Edenic realms that contrast with their fractured realities.

Ultimately, the work becomes a quiet commentary on the fragile balance between nature and survival—drawing attention to what has been lost, what is at risk, and what still might be reclaimed. By anchoring the abstract in current events, I hope to create a space where reflection, mourning, and resistance can coexist.

Samuel Semako Vittu | Quiet voyage, 2024 | Acrylic and oil on canvas, 104 x 135 cm

Could you walk us through the central piece of the exhibition, “Emerald Accent”? Why did you choose the triptych format for this work, and how do the narratives unfold across its three panels? Additionally, what guided your choice of materials for this work?

Emerald Accent is a contemplative work that explores the intersection of art, nature, and spirituality. Inspired by the rich tradition of altar pieces dating as far back as the 14th century, this triptych-like composition invites viewers into a layered visual journey—one that mirrors the spiritual and physical search for Eden.

The piece is conceived as a collaboration with nature itself, reflecting an ongoing dialogue between the sacred and the organic. The title references both the lush, green symbolism of Eden and the accentuation of the divine within natural forms.

The composition unfolds across three vertical panels. The lowest panel represents the beginning of a spiritual quest—a symbolic journey toward a longed-for paradise. This search for Eden is rendered through textured visuals that suggest movement, longing, and transition. The central panel becomes the focal point of the work, depicting an imagined communion between humankind and cherubic figures—embodiments of divinity and innocence. Here, the boundaries between the earthly and the celestial are gently blurred. The uppermost panel elevates the viewer further, offering a vision of peace and transcendence. Swathed in serene hues and populated with cherubs, it evokes an atmosphere of harmony, rest, and spiritual fulfillment.

Emerald Accent offers not just a depiction of Eden, but a meditation on the idea of Eden as a space of reunion— between nature and the divine, between humanity and hope. It stands as both a modern homage to sacred art and a personal invocation of serenity in a fragmented world.

Samuel Semako Vittu | Emerald accent, 2025 | Oil, acrylic, gold leaves, and canvas on panel, 276 x 64 cm

Your painting style—marked by clean lines, concrete characters, and clear narratives—feels very deliberate and composed. How did this style develop, and would you say it reflects aspects of your personality or worldview?

My painting style—anchored in anthropomorphism—has been shaped over the years through a combination of technical study, material experimentation, and deep personal reflection. But more than a visual approach, it represents a philosophy. In attributing human qualities to non-human figures, I seek to challenge rigid separations between species and invite viewers to consider a more compassionate, relational way of seeing the world.

This stylistic choice is not arbitrary; it reflects my belief in a more conscious practice of humanity—one that emphasizes empathy, interdependence, and respect for the natural world. In many ways, these works are mirrors, asking us not just to see ourselves in other beings, but to question how we relate to the world around us. The clean lines and composed narratives within each piece are intentional, offering clarity in a time of ecological and emotional fragmentation.

Through this lens, my work becomes both a visual language and a quiet call—to imagine how different our reality might be if we approached it with the reverence we often reserve for myths, spirits, or sacred spaces.

Samuel Semako Vittu | The celestial commute, 2024 | Acrylic on canvas, 150 x 133 cm

From your upbringing in Badagry, through your formal training in Lagos and Nsukka, to your residency at Noldor in Accra—what moments have been most defining in your artistic evolution?

My artistic evolution has been shaped by a series of defining moments, each contributing a vital layer to the practice I engage with today.

One of the most formative was my childhood experience of caring for animals. These early, intimate interactions with non-human life left a lasting impression and laid the foundation for the anthropomorphic language that runs through much of my work. It was in those quiet, instinctual moments of empathy and connection that my narrative sensibility began to take shape.

Equally transformative have been the opportunities to engage with cultures beyond my immediate environment. Whether within Nigeria or during my time abroad, these encounters with new geographies and communities have deepened my awareness of the shared—and often strained—conditions that shape our collective existence. These experiences have allowed me to reflect critically on the human condition, to better understand the forces that distance us from nature, and to ask how art can restore a sense of relational harmony.

Together, these moments—rooted in memory, experience, and place—continue to inform the work I create: work that navigates the space between species, between memory and myth, and between longing and belonging.

How would you describe the current Nigerian art climate? What is the relationship between the art community and wider society in Nigeria today?

The Nigerian art climate today is dynamic, resilient, and increasingly self-aware. There is a growing sense of urgency and purpose within the art community—an awareness that art is not only a form of personal or aesthetic expression, but also a tool for social commentary, healing, and transformation. Nigerian artists are actively engaging with both local and global issues, from environmental degradation and cultural preservation to identity politics and postcolonial legacies.

The relationship between the art community and wider society is evolving. While there are still gaps in institutional support and public accessibility, art is becoming more visible and more integrated into everyday discourse— especially through digital platforms, grassroots exhibitions, and alternative spaces. In many ways, artists are acting as bridges: drawing from tradition, responding to contemporary realities, and imagining future possibilities.

Your first solo exhibition is taking place in Lithuania. How do you feel about this milestone happening here? Do you have any prior connections to the country, and what are your expectations for showing your work to a Lithuanian audience?

I’m truly honored and excited to be presenting my first solo exhibition in Lithuania. This milestone—my first solo presentation outside of my home country—holds deep significance for me. It affirms that the ideas and questions at the heart of my practice are resonating beyond their place of origin, finding relevance within a broader, international context.

While I may not have prior personal connections to Lithuania, I’m genuinely curious about how my work will be received by a Lithuanian audience, especially given the universal themes it engages with: the relationship between humanity and nature. This exhibition is not only a personal achievement but also a moment of growth, marking a new chapter in the evolution of my practice and its capacity to communicate across cultures and geographies.

What do you hope visitors will take away from “Where Eden Was Last Seen”? Is there a particular question or reflection you'd like them to leave with?

Through this work, I hope to create a space for contemplation and, ultimately, reconnection—a moment to pause and reflect on our place within the larger web of life. At its core, this show is a call to revive a long-dormant awareness: a conscious, collective responsibility to nurture an environment where all life—human and, most especially, animal—can truly thrive. It is a quiet appeal for empathy, care, and a reimagined rela

Looking ahead, do you anticipate continuing to explore the themes presented in this exhibition? Are there any new directions or cross-disciplinary collaborations you are particularly excited about in the near future?

Looking ahead, I’m excited by the possibilities of cross-disciplinary collaborations, particularly with environmental scientists, sound artists, and storytellers. I believe these intersections can open up richer, more immersive ways of engaging audiences and challenging the boundaries of what visual art can do. My goal is to continue creating work that not only reflects the world we live in, but also invites us to imagine how it could be different—more compassionate, more attentive, and more alive to the voices we often fail to hear.

June 2025 | TUMO Gallery | Interview with Samuel Semako Vittu by Justė Buslavičiūtė.

In connection with Samuel Semako Vittu’s solo exhibition “Where Eden Was Last Seen” at TUMO Gallery (Vilnius, Lithuania, July 17 – August 17, 2025).