Péjú Oshin completed her degree in Interior Design and Technology from London Metropolitan University after initially studying Architecture at the University of Kent. Upon entering the field of interior design, she realized it was not her passion. When an opportunity arose to work at a museum, she eagerly accepted the challenge.
In the years that followed, she became an Associate Lecturer at Central Saint Martins, University of The Arts London and quickly took on the role of Assistant Curator at Tate. She also published a book titled Between Words & Space. By 2022, she advanced to the position of associate director at the renowned Gagosian gallery.
She is recognized for her curatorial work on the groundbreaking exhibition Rites of Passage and has collaborated with prominent artists like Tunji Adeniyi-Jones, Àsìkò, and Yinka Shonibare, among others. In this week’s Made in Nigeria, Péjú discusses her passion for liminal theory, her deep appreciation of art, and ways to enhance support for the Nigerian art scene.
When did your passion for art begin?
My love for art stems from my cultural background. Living in the diaspora, I continually honor my roots. Nigerians have such vibrant traditions, from music to fabrics, which play a vital role in our identity. I also gained insight into art history in school, observing my older siblings engage with art during their studies.
What motivated you to become a curator?
Initially, I wasn’t even aware that the role of a curator existed. Growing up, art was always associated with the artists rather than the individuals behind the scenes. However, I’ve always enjoyed engaging with art as a subject in school. At that time, few visual artists could sustain themselves financially, which made the profession feel unattainable. It wasn’t until my twenties that I recognized the significance of curators and their collaboration with artists.
How did you land your first curatorial job?
My background in Architecture & Design has greatly influenced my current work, as I see architects as similar to curators. After graduating, I worked at a boutique interior design firm but quickly sensed a lack of fulfillment. This prompted me to leave and accept a position at the London Transport Museum, my first experience in a museum setting.
This opportunity intrigued me because it involved exploring new architectural developments in London. I spent a year there, where they sought to engage young freelancers in the field—something that was scarce at the time due to the age demographics in the industry. After gaining experience through freelance projects and teaching, I eventually secured a role at Tate, where I worked for four and a half years before joining the Gagosian.
How would you define the role of a curator?
I like to reference the Latin origin of the term “curator,” which means “to care for.” I view curators as caretakers of both artworks and artists. Their role involves facilitating understanding for audiences, whether it’s a small group or a larger public space.
A curator’s job is to promote engagement with art, enriching the experience for everyone involved.
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Art plays a crucial role in nurturing and uplifting communities, as well as disseminating that message widely.
What inspired your notable exhibition, Rites of Passage?
The exhibition was a concept I developed and proposed after years of reflecting on themes related to the diaspora and transitional spaces. It provided a unique chance to engage with a diverse group of artists on this relevant topic. Previously, there have been exhibitions addressing similar issues, but I wanted to contribute to and broaden that dialogue. These themes resonate with my thoughts and tendencies in my work, forming the basis for the exhibition.
Why is it essential for you to expand narratives in art?
Broadening narratives matters greatly to me, particularly concerning ongoing developments in Nigeria. The impressive economic growth of Africa, particularly among its young population, warrants more global focus. Regardless of statistics, my preference is to engage with both Nigerian and broader African artists, as their explorations reflect my own experiences. Art serves as a medium for storytelling—examining the past, present, and future. The rising global prominence of Nigerian artists, such as Asake and Tiwa Savage, highlights this growing influence and makes it crucial to amplify these narratives as part of the artistic landscape.
How do you interpret the concept of liminal space?
Liminal spaces resonate with me deeply as someone in the diaspora, encompassing the challenge of navigating two cultures. It reflects the formation of new identities influenced by differing environments, as well as the ongoing transition we experience. This concept captures my personal journey and lived experiences.
Some artworks by Nigerian creators face criticism for perpetuating colonial stereotypes. How do you view this debate?
Artists generally aim to express their own narratives, often leading to varying receptions. When disagreements arise, they can spark valuable discussions. However, art is inherently subjective, and we should consider different perspectives when engaging with artworks. It’s crucial to foster deeper conversations about these viewpoints.
Considering the colonial gaze, some suggest the visibility of Nigerian artists is a fleeting phase. What is your perspective?
Many dedicated artists in Nigeria will continue producing impactful work. It’s vital for Nigerian and African artists to participate in global conversations, as art possesses the power to transcend cultural boundaries. The significance of this interaction lies in the resonance that can emerge between the work and its audience, which is what artists ultimately seek. My role as a curator is to facilitate dialogue without dictating an artist’s path.
The return of the Benin Bronzes has sparked significant discourse. What are your thoughts on the efforts to return them and their future locations?
This issue is part of a larger global conversation. Many initiatives are underway. I recently visited the National Museum and the John Randle Centre in Lagos and was impressed with the artifacts displayed. The upcoming opening of the Museum of West African Art (MOWAA) in Benin is a positive development, as it furthers the understanding of our rich heritage.
What does a typical day look like as an associate director at the Gagosian?
My daily routine varies significantly. It involves researching artists, generating ideas, visiting studios, and collaborating with other curators on exhibitions. Engaging with other professionals in the field is an essential part of my role.
What do you typically seek during studio visits?
I look for works that resonate with me and inspire curiosity. Art that prompts questions is intriguing, as it indicates that it will engage others similarly. The essence of art lies in its ability to provoke thought and discussion.
What excites you most about the curatorial profession?
It begins with the artists; without them, my role wouldn’t exist. Equally important is engaging with audiences and sharing their work with a wider community.
What advice would you offer to aspiring curators?
Stay inquisitive and continue to ask questions, as this is where meaningful dialogues start. Clarify what kind of curator you wish to become and identify the stories you want to share. Educate yourself about these narratives and the artists you wish to support.
What are your aspirations going forward?
I am always in pursuit of new ideas and ways to communicate them globally. I also devote time to my role on the Board of Trustees for Iniva (Institute of International Visual Arts), which promotes black artists. As Iniva celebrates its 30th anniversary, I aim to support initiatives that further its impactful work.
What does the Nigerian art ecosystem need to thrive?
Identifying specific needs can be challenging, but there are remarkable individuals making significant contributions. The ecosystem requires more support, especially for young artists. While several esteemed figures are working to uplift emerging talent, the scale of support must expand to match the growing number of artists in Nigeria.
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