Raised in a humble home and dismissed by his own father for pursuing art, 21-year-old Ibrahim Quyum turned personal pain into powerful portraits that now capture the attention of many in Nigeria. Entirely self-taught, the young Nigerian artist is part of a growing wave of Gen Z creatives defying odds, reclaiming African history, and proving that storytelling through art is not just valid but vital. In this compelling interview, Ibrahim opens up about his journey, his struggles, and why he believes his talent is his ticket to global impact.
FAB: Tell us about your background and how you first discovered your passion for art.
Ibrahim Quyum: My journey into art was inspired by Africa itself. I felt the need to develop my ability to tell stories as an African, using art as my medium. I am a self-taught artist—no one taught me; I simply kept practising and refining my skills. I started drawing at the age of three, and ever since, I’ve been practising to improve myself.
FAB: Interesting. At the age of three, were there things in your environment that probably sparked that kind of interest?
Ibrahim Quyum: My inspiration comes from nature. I love everything about nature. When I was younger, anytime I saw a tree, I would sketch it, and I just thought that I should keep on developing because it’s my talent and to build a career. So I kept practising, refining my ability, and staying true to my inspiration—nature and Africa itself.
FAB: When you look at it, has there been a drawing that you are so emotionally attached to?
Ibrahim Quyum: Yes, absolutely. Growing up in a humble family, I struggled to express myself. But when I discovered drawing, I found my voice. Art became my way of telling my story, a language that allowed me to communicate emotions I couldn’t put into words.
As an artist, what I’ve learnt so far is you have to make an emotional connection with what you do, with your drawings, to attract people to have interest in what you want to show them or what you want to sell to them. I began by sketching what I saw, even as a child. I started drawing at the age of three, but my parents didn’t take it seriously. They saw art as a waste of time and wanted me to pursue a different career. But for me, art is my passion—it’s who I am.
Art became my voice when I couldn’t speak.
So I kept going, despite the lack of support. I pour my emotions into every piece. I bought all my equipment myself. No one helped me. But I never let that discourage me because I just have this confidence in me that I have a better future as an artist. Looking at some of the accomplished artists that we have in Nigeria now, contemporary artists are from dysfunctional homes. Many are not from a privileged background as well. That’s also giving me confidence to see a future for myself that someone else might not see.
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FAB: Who are your biggest influences in the industry, even outside of the art world? Maybe business people that, when you see them, inspire you?
Ibrahim Quyum: Well, I have a lot, but one woman, in particular, has had a profound impact on me. She helped me develop the confidence to tell my story as an African and to bring back the legacy of our ancestors. Many people today don’t truly know or appreciate our ancestral heritage, and her influence pushed me to explore that deeply through my art. Her name is Chief Dr Nike Davies-Okundaye, affectionately known as Mama Nike. She has been a major source of inspiration for me. While I’ve been influenced by many artists, she was the one who gave me the confidence to fully embrace my artistic journey.
I also cannot tell my story without mentioning Allyson Aina Davies, one of Mama Nike’s daughters. At a time when I was on the verge of quitting art, she encouraged me and provided financial support. I honestly don’t know if I would still be here without her. Another person who has greatly inspired me is Harriet Hala, the founder and editor-in-chief of FAB L’Style Magazine.
FAB: How would you describe your artistic style? And what makes it unique?
Ibrahim Quyum: For me, art is a way to escape reality. Coming from a humble background, drawing gives me peace of mind and a sense of confidence. It allows me to pause, reflect, and truly express myself. Before I discovered art, I struggled with communication—I didn’t know how to express my thoughts or connect with people. But through drawing, I found my voice. It gave me the boldness to tell my own story and also share the stories of our ancestors, especially those from Africa.
I primarily use painting as my medium because I have a deep love for it. There are many different artistic mediums, but I chose painting and pencil drawing because they allow me to best convey the stories I want to tell. My goal is simple: to preserve and share our story through my art.
FAB: What’s your creative process? I mean, from the moment an idea comes to your mind to the final piece.
Ibrahim Quyum: Whenever I need inspiration to create, I turn to music. People often find it surprising that, despite being born in 2004, I have a deep love for music from the 1940s to the 1970s. I listen to old-school legends from those eras, and their sound fuels my creativity.
Another way of getting inspiration for me is nature. Being close to nature gives me a sense of peace and clarity that helps my artistic process. I also enjoy listening to African music, even when I don’t understand the language. For example, when I listen to Miriam Makeba, who is from South Africa, I may not fully understand the lyrics, but the fact that she’s an African and listening to her voice, I would just get this inspiration from her.
One artist who particularly inspires me is Ayinla Omowura. Whenever I listen to his music, people often ask, “How old are you?” because they’re surprised by my taste. But for me, music isn’t just about the era—it’s about the emotions it evokes and the stories it tells. In short, music is my greatest source of inspiration.
FAB: And on average, how long does it take you to finish your piece?
Ibrahim Quyum: Well, it depends on how big the size I’m working on is. If I’m working on a normal-sized piece, it usually takes me three to four days. However, for commissioned work, I can finish within two days because I stay focused to meet the deadline. But when it comes to my personal pieces, I take my time. I like to relax, sometimes listening to Ayinla Omowura before I even pick up my pencils. Since I own the work, there’s no rush—I might spend up to a month on it, even though I know I could complete it in just 30 minutes if I wanted to. So unless I’m working on a commissioned piece, I will be done with it quickly so I can deliver it.
FAB: What materials do you enjoy working with the most? I know you’ve spoken about pencil. Do you paint at all, or do you just do charcoal work?
Ibrahim Quyum: I primarily work with pencil, graphite, and charcoal, as these are my main mediums for storytelling. However, I recently started learning how to paint as well. In fact, I’ve already shared one of my paintings on my Instagram page. Despite learning to paint, the main medium that I want to use to tell a story is clay, black and white, graphite and charcoal pencil.
FAB: Is there a specific theme or message that runs through your work, or is there a particular message that you mostly want your work to communicate?
Ibrahim Quyum: Yes, I was on Facebook a few days ago—almost a month now—and I saw a post where someone, a European man, claimed that Africans have no history. I commented, asking, if we Africans have no history, why are most of our historical artefacts housed in your museums?
This reminded me of an important piece of history that I’m currently working on—FESTAC ‘77—and the mask associated with it. The mask represents Queen Idia of the Benin Kingdom from the 18th century. The original was looted by the British in 1897, and when Nigeria hosted FESTAC ‘77 (the Second World Black and African Festival of Arts and Culture), they requested the return of the mask from the British Museum. The request was denied with weak excuses, so instead, we created a new one for the festival since we were the ones who created the original one. That’s why I’m working on this piece—there is so much history behind it.
From Queen Idia’s time in the 18th century to FESTAC ‘77 in Nigeria, which was a celebration of unity among Black people. The festival brought together about 16,000 participants from 64 African countries, plus Caribbean nations, making a total of 71 countries. It was a cultural and artistic showcase of Black identity and heritage. For me, storytelling is the core of my art. There are so many untold stories from our past, and my goal is to bring them to life through my work.
My passion for African history drives every pencil stroke.
FAB: So far, what has been the most rewarding moment in your career, even as a young artist?
Ibrahim Quyum: My most rewarding moment so far was when I received a commission from Allyson Aina Davies in Lagos State. It was a significant moment for me because it was a great honour, especially since it happened about two years ago. I didn’t expect it; the payment was far beyond what I imagined. For me, that commission marked a milestone. It reminded me of my passion for art and why I keep pushing forward. I’m still working hard and still engaging with people, and that experience really made me happy.
FAB: As a young artist in Nigeria, what challenges have you faced? What’s been the most challenging thing for you?
Ibrahim Quyum: The most challenging thing for me as an artist is the lack of materials, especially with the current economic situation in Nigeria. For example, I once needed a specific item that cost 160,000 naira. I had to save up little by little without any sponsorship. Once I had the full amount, I went to buy it, but by the time I saved enough, the price had increased. This happens often, and it makes it difficult to keep up with the rising costs of materials. Every time I try to purchase what I need, the prices keep changing, and it’s a real struggle to manage.
FAB: So inflation and, of course, access to funding is a challenge you’ve faced. Have you ever doubted your abilities as an artist?
Ibrahim Quyum: I’ve experienced that. There was a time when I didn’t have any commissions, I had no money, and I was living alone. Looking at me now, I might seem young, but I’ve already experienced things that some older artists may never go through. There were moments when I questioned myself, wondering if I should even listen to certain advice or consider a different path.
I’m grateful for the inspiration I’ve received from others. It was my manager who gave me my first commission, and when I received that, it felt like a turning point. I thought, “If I can make money from this, then if I keep practising, more opportunities will come.” Though I’ve had moments when I thought about quitting, I don’t feel that way anymore.
FAB: Where do you see your art taking you in the next five years?
Ibrahim Quyum: Based on what I’ve seen so far, I can’t say for sure, but I’ve always believed that in five years, I might not even be in Nigeria. I have a lot of ambition. With the plans I have in mind and faith that God will guide me, I believe I may be somewhere beyond Nigeria in the next five years.
FAB: Finally, if you could collaborate with any artist, living or dead, who would it be?
Ibrahim Quyum: There’s one artist I really admire, Leonardo da Vinci, the creator of the Mona Lisa. I’ve always wondered how he approached his work, and if he were still alive, I’d love to ask him about his process and how he brought his masterpieces to life. His paintings often leave you thinking deeply, and that’s something I aspire to in my own art.
As for a living artist, there’s an artist named Arinze Stanley, a talented pencil artist. I look up to him because whenever I see his drawings, they inspire me to push myself further. They remind me that I can create something just as powerful, or even better, than what he’s done.
FAB: What advice would you give to young and aspiring Nigerian artists like yourself, who are just starting out?
Ibrahim Quyum: If someone discovers their talent, the key is to keep building and developing that talent consistently. For example, I love drawing, and if I hadn’t kept practising day and night, I wouldn’t be where I am today, despite not having a teacher. My passion for art has driven me to keep improving, and it’s rewarding to be paid for doing what I love. Inspired by Ibrahim’s story? Follow for more real artist journeys from across Africa.
It doesn’t have to be art—other young people might have talents like singing or something else. The important thing is to pursue it with dedication. I’ll be honest, I’m not fond of reading, but when it comes to drawing, I can spend 10 hours straight without even feeling tired. Everyone has different talents and ways of focusing. Some can read for hours, while I can draw for hours. The key is consistency—keep practising, keep developing your talent, and stay focused on it. That’s the advice I’d give.
