SOMA.

SOMA is a contemporary British-Nigerian artist based in London. His recognisable style incorporates asemic writing which is a hybrid art form consisting of lines that appear to form words but that are without specific meaning. He utilises this style to create instinctive compositions that strive for both meaning and mystery.

Influenced by his practice as a qualified play therapist, SOMA’s lyrical abstract works tell stories about the intangibles of the healing process, aiming to demystify the therapeutic experience and bridge the gap between felt experience and abstract thought.

SOMA uses a variety of mediums in his work, blending painting with writing and collage. The poetic and free-flowing aesthetic of his works symbolise the rhythm of a healthy therapeutic process, which can feel like creating music when it clicks.

SOMA has exhibited extensively with works sought after from collectors across the globe. He has been featured in publications such as Estila and Suboart, and is represented by international art agency, Artiq.

“Instinctive, lyrical and mysterious abstract art embracing asemic writing.”

6 questions with SOMA.

We ask our emerging artists 6 questions to uncover what drives their work, practice, and creativity.

What themes or questions do you find recurring in your work?

Outside of making art, I am a qualified play therapist. Therefore, a lot of my work touches on elements of the therapeutic process. I am very curious about the intangibles of healing and wellness. There are so many things that I see happen in the therapy space which are hard to describe, but you know it when it happens. The felt experience is such a powerful thing. My work explores the ineffable and mysterious. The abstract parts of healing that we feel but do not necessarily fully comprehend. I like to tell stories about these themes as I am very curious and awed by them in the therapy space. I feel that there is a lot that we can learn from these concepts, both within the healing space and outside of it.

Can you describe a pivotal moment in your journey as an artist?

During Covid, I went on a hiatus from my artistic practice. Before the pandemic I was making more neo-expressionist and figurative work but I knew that I was going to change my style once I came back to art after Covid. I’m not entirely sure why I knew this, but it was a felt experience that I was compelled to go with. And after a lot of soul-searching and experimentation, I arrived at asemic writing; a hybrid art form consisting of lines and marks that appear to form words but that are without specific meaning. This was a pivotal moment in my journey as I feel a much deeper connection to my work. It really allows me to connect with my work as a therapist on a more profound level.

What materials or processes are most important in your practice - and why?

The ‘main event’ of my work is usually the asemic writing itself. This tends to come at the end once the ground work has been done with collage, painting and other bits and pieces. The asemic writing has to be instinctive for me, it is never about re-doing it if it doesn’t look a certain way. It is a one-time thing that makes or breaks a piece. I have destroyed countless pieces over the years because I don’t quite vibe with how the writing looks. I think it must be this way for me because I like my work to be about moments in time, just like things that occur in therapy sessions – you had to be there! And it is within these moments, that things can shift, move, release, or we can gain insights into things which are deeply held within our psyche, which I find magical. Also, I like art that is messy and imperfect as it feels like a reflection of who we are as human beings.

How do you want people to feel when they experience your work?

One of the cool things about asemic writing is that is gives the power to the viewer to see what they see. There is no right or wrong experience, it is purely subjective. Obviously, there are themes and ideas that I’m exploring in my work around healing and so providing the audience a sense of curiosity, wonder and reflection are my hopes, as well as a sense of resonance and connection. With that said, these are my hopes but certainly not an expectation. People will see and feel what they see and feel. As Anais Nin wrote, ‘we see things not as they are, but as we are.’

What does a typical day in your studio look like?

Typically, in the studio I will be finding a balance between lots of movement and stillness. I tend to work in short bursts and have music in the background so as much of my time is spent singing, rapping and dancing as it is creating work. I have two young daughters at home too so generally these days my time in the studio could be described more as moments rather than any extended stay. With that said, I will often try to get in there early in the morning or later in the evening as there is a beautiful stillness when everyone is sleeping and you’re in your element.

What dreams or hopes do you have for your artistic journey?

It might sound cliché but I really hope to stay grounded and true to myself in my work as an artist. I think that it is a great gift to be able to make and tell stories through art. And as I have found in my therapy work, it is stories that define and shape us, so my hopes and dreams revolve around being able to tell and share stories with people. Hopefully stories that resonate, challenge, and inspire.

SOMA. COLLECTION

Sort