Two practices.
One point of view.

The person
behind the work.

I'm a creative director. For five years I've been turning brand problems into things people actually do — scan, walk through, queue for, take home. The medium changes every time, and that's deliberate.

For Mastercard it was a gamified retail system: randomised QR codes unlocking rewards built from first-party data, live across malls and supermarkets in Lagos and Abuja. Thirteen thousand shoppers the first run, close to twenty thousand the second. For Marriott it was a 1:1 augmented-reality twin of a hotel nobody was allowed to enter, which won Best Use of Technology at the EXMAN Awards. For Teni it was her debut album rebuilt as a world her superfans could walk into — the first of its kind in Africa, two hundred seats, a thousand people trying to get in. For Gamr it was replacing a founder's investor deck with a headset.

I don't lead with technology. I lead with the mechanic — the one specific thing a person does that makes an idea real — then build whatever it needs.

I made all of it in Lagos. None of it had a precedent to copy, and most of it happened without the vendors, budgets or infrastructure that work at this level usually assumes. I live and work in the United States now.

I studied History and International Studies, a double major. It's the least obvious line on my CV and probably the most useful. Both disciplines train you to ask who is telling this story, who it leaves out, and what the same moment looks like from the other side of a border. That is most of what strategy actually is.

Art is where I question. Creative direction is where I translate. Two practices, one way of thinking.

In the studio I paint on aluminium. I chose that ground because it won't let you stand outside the work — a polished sheet hands your own face back, sitting in the composition next to whatever I've put there. You arrive as a viewer and find you've already been included. Human forms and found objects, built through digital sketches, stencils and layered paint until the surface is textured enough to hold an image and reflective enough to keep interrupting it. More recently, 3D-printed objects set in resin.

That isn't a side interest. It's the same operation. A hotel you can only enter through a phone implicates you. So does an album you walk into, or a mall floor that turns a card payment into a game. The studio is where I work out how to put someone inside a thing. The brief is where I do it at scale.

Most of my job is leading people — designers, developers, 3D artists, fabricators. In practice that means writing a brief someone can actually build from, protecting the idea through production when it starts costing money, and noticing when somebody on the team has a better answer than mine.

In 2017 I founded Ramati Art Africa to back emerging Nigerian artists: a $2,500 grant, mentorship, exhibitions with the Commonwealth Africa Initiative. Eight years of finding young talent and putting money and attention behind it taught me more about running a team than any brief has.

In 2025 I showed Reflections of the Human Condition in Corning, New York — my first solo exhibition.

I've never been able to stop at the deck.

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