by Ifeoluwa Olutayo
Over the last few months, The Process Africa has organized, hosted, and moderated events as part of a project titled ‘Collective Archives’. Collective Archives explores the intricate relationship between physical, social, and mental spaces and artistic expression among underrepresented and marginalised artists across Nigeria.
The project started in June 2024 with a visit to Ibadan, hosted by Our Home Studio. The team visited artists’ homes, studios, and historic and cultural institutions while engaging in meaningful dialogues that revealed how space shapes artistic expression and identity in Nigeria. To conclude their week there, they organised an intimate workshop that stimulated conversations around defining home and reclaiming space. In August 2024, The Process Africa travelled to Abuja to carry on conversations and continue to document creatives and their artistic processes. At the end of their visit, they hosted a gathering themed around the question “How do we create safe spaces in the presence of discomfort?”
These two trips are the foundation for their rollout in Lagos. From November to December 2024, Process Africa planned five gatherings, four of which have been held: an opening dinner, A Fashion Panel, A Film Screening, A Photo Walk, and a final lynchpin art gathering titled Collective Grieving, that brings together film, conversation, art and music, a shared space for community-led reflection.
I sit in this space with Ojuromi Rachel, the Founder and Creative Director at The Process Africa, Debby Fasingha, Head of Operations and Fashion Director, and Daniella Almona, Photo Director and Editor, to discuss intent, goals, and aspirations for these events to come and the larger picture for The Process Africa.
Q: I think we can start with introductions, for those who don’t know about The Process Africa and the work you do.
The Process Africa is a magazine that focuses on platforming young underrepresented African creatives. Our mission is to protect the integrity of art and remind artists that they are appreciated and valued, provided they do good work.
Q: What inspired the Collective Archives project?
Rachel: Space. Lol –
We noticed a gap in documentation where we majorly see artists living in a specific demographic being highlighted. The project began as a way to document artists beyond Lagos. Conscious of the fact that publications that highlighted ‘Nigerian Creatives’ were basically artists based in Lagos, which could be known as the art capital of Nigeria, we wanted to platform creatives living and thriving outside Lagos. This inspired our trips to Ibadan and Abuja.
Upon further investigation, we realised the issue went beyond these platforms only highlighting artists in Lagos. Even in Lagos, there is no real regard for artists doing incredible work on a small to medium scale. They are not presented a platform or seen as worthy of proper documentation so we expanded the project into what it currently is, including Lagos in our lineup of cities.
Q: In crafting a five-event programme, what considerations determined where what should go?
Debby: I would say our access to space honestly. A lot of the time when we start to work on a project, we take our time both intentionally and unintentionally and things end up aligning in the way that it was meant to. I think it’s the universe tapping into the authenticity of it all. We started off figuring out where to host the photo walk and then I got a call from Rachel. They had attached 3 more events to the lineup lol. An opening dinner, a fashion panel, and a film screening. The fifth one came along the way. And then we go back and forth trying to lock down locations, dates, decor, etc.
Dan: It was also important for us to touch on different forms and expressions of art- fashion, film, photography, and music- because we know a lot of young creatives in all these fields, us included. Rachel was definitely texting every other day about a new event idea and we were down for it each time. Honestly, if we had time and funds we would probably host 5 more. We love to yap. Creating safe spaces for people to sit and actually talk to each other and share their art with other like-minded or even different people than they would have engaged with.
Q: In undertaking research across Ibadan and Abuja, and holding workshops and screenings, what were some of the expectations you had?
Debby: That people actually show up lol. I’m always hopeful that people are able to connect to the stories, and to the questions that we’re asking. And so far, a lot of people have. That’s what keeps me going.
Q: How have those research trips shaped how you view space in relation to the artists inhabiting them?
Debby: It reminds us that space is inevitable, space is everything and everywhere, physically, socially, mentally and metaphorically.
Rachel: In Ibadan, we spoke to Ajetunmobi Olusayo and she described space as a container for movement, and if you think about it, everything that has life moves, so in the same way that movement is a significant part of existing, so is space.
Dan: We also learned that we influence and impact spaces in the same way that they impact us. Yes, we visited artists in their studios but we also visited them in spaces that give them inspiration, feed their souls and inspire the art they create. It was beautiful seeing how different each space was and how different each artist was but also being able to see the relationship and harmony between the artists and the space they chose/occupied.
In Ibadan, I was extremely grateful for a space like Our Home Studio because it reminded me of the importance of open, collaborative and artistic spaces where people can come and relax and release especially as the economy is coming for our necks.
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Q: What is something you can say your outfit has picked up from some of the artists you’ve platformed and interacted with over the course of this project?
Debby: In Ibadan, We liked the way the artists we interviewed answered their questions, they saw the need to take a breath. To stop speaking and take a moment to fully articulate their answers. It seemed as though they were not in a hurry to get the “right” answers out and that was something we really appreciated.
Q: What have been some of the challenges you’ve faced undertaking this project?
Rachel: All the challenges we have faced have been as a result of lack of funding, so you can say just like Nigeria we have a money problem, lol, not as much as Nigeria but every part of this project has been funded from our pocket, from logistics to feeding, to accommodation, curation of gatherings, etc have been from us, and let us clarify we are not rich. This is from the little money we get doing work outside of this.
Dan: Finding spaces to hold these events was also harder than we thought. Last minute cancellations, high rental costs, inaccessibility to certain resources. But we have seen our community pull through for us multiple times.
Q: What has been the reception to the different programmes already held across these three cities?
Dan: We have gotten such amazing feedback. The conversation almost always extends beyond the allotted time of the event because people are aware that spaces like these, spaces where we can gather and pick each others’ brains, share each others’ joys and lament about our collective and individual struggles are so important.
Q: What would you say is the major metric for a successful implementation of this project?
Rachel: That people show up and speak to us. That they can be vulnerable and truly let us into their space because showing up is only one part of the equation. You can be physically present but not actually be there. This project is centered on documentation but you cannot document what people do not say.
Q: What do you hope The Process Africa becomes as an art entity in Nigeria?
Rachel: Beyond a publication/magazine, we want to build a community of young and emerging African artists who know that as long as we exist, they will always have the support, recognition, and appreciation they deserve. We want to have hubs (safe zones) in different countries across the continent where these artists and art enthusiasts can gather, irrespective of social class, and commune. But for now, we are documenting in various forms, print, gatherings, and social media, and continue to provide clarity on who we are and what we are doing.
