INTRODUCTION

Ade Adesina is an artist living and working in Aberdeen, Scotland. Having previously studied printmaking at Gray’s School of Art, Robert Gordon University, Aberdeen, he graduated in 2012. Adesina is a Royal Scottish Academician an Associate member of The Royal Society of Painters and Printmakers, and a member of The London Group. He has had artist residencies at Eton College, Glasgow Print Studio, Gray’s School of Art, Aberdeen, Engramme, Quebec, Canada, and Fossekleiva Kultursenter Berger Museum, Norway 2024. More recently, he was awarded the Mario Avati Engraving Prize 2023 from the Academie des Beaux-Arts, France.

 Ade's work is a visual commentary around the ideas of ecology and our ever-changing world. The Artist remains engaged in current affairs, referencing cultural narratives within a socio-political context. He is a traditional printmaker, painter, and sculptor. The artist combines cultures, producing work that makes people reflect on the past, present, and future.

INTERVIEW

How did you get into your creative practice? What initially inspired you?

I grew up in Nigeria around a lot of creativity. Everywhere you looked, there was always somebody making something. Pottery, basket weaving, tie and dye, wood carving and graphic design/sign-making were some of the practices I was exposed to. But I really got into drawing through the comic books. I collected comics like Tintin, Spiderman and Voltron. A couple of kids who were my age and older started making their own comic books telling African stories. They were my initial inspiration for my drawings, along with the wildlife that surrounded me.

What themes do you tend to interrogate in your creative practices?

I tend to interrogate the intersections between society, nature, and belief systems. I explore themes drawn from current affairs, history, culture, and the environment. Wildlife and the natural world often become symbolic entry points for larger reflections on humanity’s place in the world. I am also interested in the connection between places around the world and how ideas, traditions, and challenges resonate across borders. Ultimately, my work is a way of commenting on how we live, what we value, and the impact we leave.

What is your favourite project you’ve ever worked on and why?

If I had to choose, I would say my favourite project is the linocut print The Questions (2015). It was my first large-scale linocut, and it marked the moment I felt able to express myself in real depth. Through this work, I explored multiple subjects while also creating connections between different places and ideas. The process pushed me to think more expansively, and it ultimately opened the door to the way I approach and produce much of my work today.

What advice would you have for creatives of colour looking to get into your creative practices?

My advice would be to always find the time and the means to create and make the work, even when resources or opportunities feel limited. The act of making is powerful in itself; it builds your voice, your confidence, and your portfolio. I believe that if you have the work, the opportunities will eventually follow. It’s also important to trust the value of your own perspective. Your story, your heritage, and your experiences matter, and they can bring something vital to your practice and to the wider creative landscape. Surround yourself with supportive communities, keep learning, and don’t wait for permission to begin, just start making.

What are you currently working on?

I’m currently preparing for several exciting projects leading up to the 2026 exhibition season. One highlight will be an exhibition at Seacourt Print Workshop in Bangor, Northern Ireland. I’m also working towards what will be my largest UK exhibition to date, opening late next year at the City Art Centre, part of the National Galleries of Scotland in Edinburgh. Alongside these, I’m collaborating with other artists on smaller projects.