In this conversation, Solomon Okpurukhre challenges the art world’s status quo by exploring a pressing question: why do so many talented artists fail to make money from their work? Born in Lagos, Nigeria, and honed through years of artistic evolution in Austria, Dakar, and beyond, Okpurukhre, an award-winning visual artist, painter, sculptor, and curator, brings a unique, global perspective to this debate. As the founder of SARTO Art Agency and a pioneer in merging “art for the economy” with Modern Christian Art, his provocative insights push us to rethink traditional notions of artistic success and financial sustainability. By joining together his experiences from international exhibitions across Iran, Bulgaria, the USA, and more, Solomon Okpurukhre invites both emerging and established artists to uncover the hidden pitfalls of art commercialization and discover new pathways to economic viability.
Solomon Okpurukhre: I’ve lived in the diaspora for about 25 years, but Austria wasn’t my first experience outside Nigeria. Before moving here, I spent a few years in Dakar, Senegal, working as a visual artist. Over time, I’ve realized that the places we live shape us—both as individuals and as artists—but my roots and inspirations have always remained central to my work.
Adapting to a new environment was an enriching experience. Since I was already established in my practice before arriving in Austria, I had a clear vision of what I wanted to achieve. Beyond my work as a visual artist, I expanded my role by curating exhibitions and running a gallery for many years, creating platforms for other artists to showcase their work.
This curatorial work allowed me to shape artistic conversations, particularly through exhibitions built around specific themes. Titles play a crucial role in my work because they provide direction and inspire both me and other artists to create within a unified vision. Ultimately, my journey has been about staying true to my roots while evolving through the environments I’ve lived in and the opportunities I’ve embraced.
Solomon Okpurukhre: Absolutely. The changes in 2024 are profound. Across the global creative scene, we’re seeing shifts that impact artists everywhere. These transformations inspire me because, for me, art has always been a form of communication. It’s not just about creating something visually striking—though beauty is important—but about delivering a message that resonates.
Lately, my focus has been on creating artworks, exhibitions, and projects that reflect today’s realities. One recurring theme in my work is global warming. Coming from Bayelsa State, Nigeria—specifically the coastal island of Sangana—I’ve witnessed firsthand the impact of environmental issues. These areas, with their stunning beaches and marine ecosystems, are deeply personal to me, and I feel a strong responsibility to advocate for their preservation.
The marine world, for instance, is a fascinating yet often unseen space, existing beneath us while facing its own crises—from coral reef destruction to plastic pollution. Through my art, I aim to raise awareness about these urgent environmental concerns and inspire people to take action. Art has the power to remind us of our responsibilities and challenge us to do better.
Beyond environmental issues, I also explore themes of war and peace. Recently, I participated in a project organized by ICDO in collaboration with UNESCO, where artists came together to address cultural diversity, conflict resolution, and global unity through creative expression. In Vienna, I’ve also worked with an institution that serves as a peace mediator between nations in conflict. One of my solo exhibitions, Peace, was dedicated entirely to these issues, using art to spark dialogue on war, reconciliation, and the urgent need for global harmony.
Through my work, I continue to address these pressing themes—environmental sustainability, war, and peace—because I believe artists have a crucial role in shaping conversations that drive change.
Can Traditional Art Compete with NFTs and Digital Art?
FAB: One major force shaping the industry is technology. Many artists are increasingly turning to digital mediums, exploring NFTs and other digital innovations. With so much emphasis on these modern tools, why do you continue to embrace traditional painting and sculpture? What do you believe these forms offer that digital art cannot?
Solomon Okpurukhre: That’s a great question. There’s no denying that technology has transformed the art world—digital platforms and NFTs have created exciting new opportunities. However, I see these advancements as additions rather than replacements for traditional art forms. The tangible, physical nature of art holds a unique power that digital mediums simply cannot replicate. Art is meant to be experienced—it’s something you see, feel, and connect with on a personal level when it’s right in front of you.
While digital art has its audience, there’s still a strong appreciation for physical artwork, especially among collectors and seasoned art enthusiasts. Many prefer engaging with pieces in galleries or exhibitions rather than viewing them through screens. Art fairs and exhibitions—like those held in Lagos, Nigeria, and beyond—remain essential. They’re not just showcases; they foster community, networking, and cultural dialogue. Physical spaces create an environment where people can gather, discuss, and share experiences—something digital platforms struggle to replicate.
Personally, while I recognize the value of digital art, I remain committed to traditional mediums because they preserve a sense of authenticity and depth. Unique, tangible pieces displayed in physical spaces invite interaction and conversation in ways that digital art cannot fully achieve. Art, at its core, is about communication. To truly convey emotions, themes, or societal messages, we need spaces where people can engage directly with the work, feel its presence, and respond to it in real time. That’s the enduring power of traditional art, and it’s why I continue to champion it.
FAB: As someone deeply rooted in the art world and a strong advocate for African artists, you’ve emphasized the importance of exhibitions as spaces for community building and dialogue. With the global art market now paying unprecedented attention to African art—not just as artefacts to be stolen, as history has shown, but as a vital contemporary voice—how do you think this growing interest is reshaping the narrative around African artists and their work?
Solomon Okpurukhre: It’s inspiring to see African art finally receiving the recognition it deserves. For far too long, African creativity has been overlooked, despite its undeniable influence on global artistic movements. Even legendary artists like Pablo Picasso drew inspiration from African masks and artefacts, demonstrating the depth and originality of African artistry. Yet, rather than being celebrated, much of this art was taken from the continent without proper acknowledgment.
The ongoing conversation about restitution—returning African artefacts to their rightful homes—is a crucial part of this shift. I recently participated in an exhibition in Vienna that brought together African and Western voices to discuss the importance of restoring these invaluable cultural pieces. Beyond restitution, the global art market is finally embracing contemporary African artists, and platforms showcasing their work are expanding rapidly.
This momentum is encouraging, but we must ensure it translates into lasting opportunities for African artists. Many advocates across the world are working tirelessly to amplify African talent, and it’s essential that we also create opportunities from within—supporting and uplifting artists from our own communities. While African art is gaining recognition, there’s still a disparity in how it is valued compared to Western and Asian art. The quality is undeniable, but pricing and appreciation still need to catch up.
Recently, I visited the Belvedere Museum in Austria, a prestigious institution in the art world. One artist whose journey stood out to me is Amako Bafo, a Ghanaian artist who studied in Vienna but now operates primarily in the United States. He recently won first place in the renowned Strasbourg Arts Competition, and his works are now selling for hundreds of thousands—if not millions—of dollars. Seeing this kind of success for African artists is incredibly uplifting. It reaffirms that African art is not just having a moment but is on a trajectory toward long-term recognition and value. These achievements give me hope that even greater opportunities lie ahead for African artists and the future of African art.
FAB: You made an insightful point about the restitution of stolen artefacts from Africa. Some argue that returning these artefacts may not be necessary, citing concerns about the lack of proper maintenance culture in many African countries. The fear is that these treasures could be returned only to deteriorate or be mismanaged. What’s your take on this? How do you balance the importance of repatriating these artefacts with the challenges of preservation and maintenance?
Solomon Okpurukhre: This is a complex issue with multiple perspectives. It’s true that some people worry about whether African nations have the infrastructure to properly care for these artefacts. However, many countries are making significant strides in preservation, and efforts to return artefacts to various parts of the continent are already underway. In West Africa, for example, some governments and institutions are actively working to establish museums and cultural spaces to safeguard these treasures.
As an artist, I feel strongly about this subject, and I’m deeply concerned about the lack of infrastructure and public awareness surrounding the significance of these artefacts. I recently had a conversation with an artist friend in Abuja, Nigeria, who pointed out that many people—including those in power—don’t fully grasp their historical and cultural importance. Some view them merely as spiritual objects or “voodoo,” which diminishes their true legacy. But to me, these artefacts represent our history, the creativity of our ancestors, and a cultural inheritance that should be preserved and celebrated. They serve as educational tools that connect younger generations to their heritage.
We can learn valuable lessons from how Western museums present and protect art. In Europe, museums provide spaces where people can engage with history and culture firsthand. These kinds of institutions are crucial, especially for younger generations who may otherwise never get to experience their rich artistic heritage. Unfortunately, many African countries face significant challenges in building and maintaining such institutions. Systemic issues like corruption, lack of funding, and inadequate infrastructure make it difficult to fully prepare for the return of these artefacts.
European reluctance to return these pieces often stems from these concerns, but that shouldn’t overshadow the fundamental issue: many of these artefacts were taken unjustly, and restitution is essential. These pieces belong to African people, and returning them is a step toward acknowledging historical injustices. Some artefacts have already been returned, and ongoing discussions continue for others. However, as a continent, we must do more to develop the infrastructure—museums, preservation programs, and cultural initiatives—that will allow us to safeguard and showcase these priceless pieces of our history.
Overcoming the Financial Challenges in the Art World
FAB: In the past we used to have FESTAC and other festivals; people used to go to cinemas to go and watch theatre performances. But something just changed, and people feel that it’s of no importance. Some have even asked, of what importance is art? Why should we dedicate time to art? Some even conclude those who choose to major in art are dullards who don’t know what they want to do with their lives, when they could have pursued medicine or law, for instance. Did you face any of those challenges?
Solomon Okpurukhre: It’s so unfortunate that people are downgrading their God-given talents, I would say. We all have diverse skills and talents being given to us. Art for me is more than just going to the academy and studying it. It might not be a mainstream skill, just like being a good footballer, for instance. So, if you have the passion and creativity, be it visual art, music, performance, dancing, architecture, and others like that, there is a main reason why God has given you that talent in the first place.
Many people make the mistake of wanting to meet the expectations of other people or the society at large. For instance, you ask a young child growing up, What do you want to be? It’s something like the basic thing that many people want to see—I want to be a doctor or lawyer.
Listen, if you run out of the main thing that you have been created to become in life, you will struggle in many other ways. Even just trying to meet up in the fact that I want to achieve this thing to please my parents or achieve it to please them, but then you are lacking as a person. I know many people who are frustrated; they’re not having that joyful life, the full life they’re supposed to have because of that kind of decision.
That said, I deeply respect professions like medicine and law. They are important, but not everyone is meant to follow those paths. Not everybody should be that. As an artist, you have a lot to contribute to society. You contribute to the culture. You create an atmosphere where people can act as a game. It’s a place that attracts people; it connects people. You see cultural beauty that the world is not grey. It is colourful. It is amazing and beautiful. In the music industry, for instance, we in the diaspora right now, see a lot of people, even the white people, the way they love the Afrobeat. It is such a beautiful thing to see people using their talents, creating awareness, and making fame for themselves and wealth for themselves.
It’s a very sad illusion that people think differently about how I can make it as an artist. No, but if you believe in your dreams and you work towards your dreams, you will be recognised one day. You will be noticed. And then you will also become a beacon of hope for other people, giving them the knowledge and motivation to continue also in their own God-given talents and gifts. I think that it is the right thing to remind people of what really motivates them, what really is their passion in life, but not to live in the shadow just to please other people. Be you, be real, be authentic, just be yourself.
So, back to the part of your question when you asked if I experienced that. No. In my case, I’m blessed and lucky. I’m not the first artist in my family. My mum did some creative work. From my mother’s side, we have talented people—visual artists. My uncle—Uncle Jubilee—studied in Great Britain and went back to Nigeria and was a big name in Nigeria, but they both passed on now. Even my younger brother in Dakar, Senegal. He is also into visual art and the performing industry. He’s a musician, and he’s also a visual artist. So, these things you don’t fake; you don’t force them. It comes naturally given to specific people or in a family lineage, even my own children. I have four kids now, and they are also artistically gifted in music and in visual art. I didn’t force anything on anybody, but it comes naturally.
Like I would encourage my kids, for instance, to keep doing what they love, that thing that they love to do. There’s natural talent, and I want to make sure they keep it alive because I was also privileged to have people before me who were visual artists who did well. They did well in their time, and now I’m existing, I’m alive, and I’m still doing it, taking the baton and carrying it on and definitely will pass it on to generations to come.
To be an artist is not a thing that you can just say you want to do. You must be talented and gifted in a way. Of course, you can go to the academy and learn some of these things, but it’s more challenging, unlike if you’re gifted naturally, then you will have a major step ahead to realise your dream as a person.
Like I use football as an example, for instance. Many people break through their own gift as a skillful person. Growing up in Nigeria, you will see parents telling you that after school, Why are you playing football? Go and read your book. But today, I don’t think that’s really the case anymore. I know of many Nigerian people even here, in Vienna, the father of David Alaba, George Alaba. In Vienna, George did his best to make sure the boy started learning football right from the start, and today look at him. He’s the biggest football star in Austria. I know other parents who are doing similar things right now. People’s success motivates other people and parents to attach and understand that you cannot force a child to go and do certain things that the child is not really ready for because, at the end of the day, it might end up becoming a poor result. But when you notice a gift in a young person and you start to nurture it, the probability of that person being successful is huge.
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How Artists Can Make Money from Their Work: Insights from Solomon Okpurukhre
FAB: When people see success in others, they naturally want their children to be associated with such talent. One reason the arts are often dismissed as an unviable career path is the perception that many artists struggle financially. Education also plays a role, as you briefly mentioned—many artists lack proper mentorship in the business side of art. How do you sell your work? How do you determine its worth? Also, you run an art agency, SARTO, and I’d like to use Africa—specifically Nigeria—as an example. Many emerging artists are eager to understand the evolving trends in curation. What are curators currently looking for? What shifts have you observed in the industry that artists should be aware of when pitching their work?
Solomon Okpurukhre: That’s an interesting question. I’ve worked extensively in the creative space, collaborating with galleries and participating in art symposiums. The truth is, in the art world, uniqueness is key. You need to stand out—not just in your style but also in your technique.
Years ago, I explored different forms of visual art, exhibiting my work at various art fairs. I remember attending an event in Manhattan, New York, as part of a select group of galleries from Austria. I showcased realistic oil paintings, and the experience was a success. A gallery from New Jersey ended up purchasing my entire collection. However, my artistic journey extends beyond that—I delve into sculpture, experimenting with techniques and materials to refine my distinctive approach.
It’s tempting to stay within a single niche—painting landscapes, for example. But an artist, much like a musician, should cultivate a signature style that makes them recognizable. Of course, financial success matters, but true recognition comes from having a unique artistic identity. Fame and wealth follow when your work is distinct and impactful.
Curators value originality, and it would be misleading to reduce their preferences to a single formula. The art world is vast, and creativity is limitless. If you can present something tangible, extraordinary, and unlike anything seen before, it becomes an invaluable contribution to the industry.
I’ll use my experience as an example. In 2013, I participated in a national art show in Louisville, Kentucky. I was the only international artist presenting my work there. Interestingly, one of the jurors was based in Atlanta, Georgia—where my brother also lives—and we later connected. The competition included many highly trained American artists, many of whom had studied at prestigious art academies. Yet, by the end of the event, I won first prize.
The jury explained that my technique and choice of materials were unlike anything they had encountered before. While other artists showcased exceptional work, many had styles that closely resembled their professors’—a common trend among academy-trained artists. Of course, all artists draw inspiration from others; even in the music industry, similarities exist in beats and composition. However, the challenge lies in carving out a unique voice within that space.
We live in an era where creative influence is inevitable, but true artistry comes from forging something unmistakably your own. That’s what I look for when evaluating art—distinctiveness. Many artists create beautiful work, yet it lacks individuality. If I can easily mistake one artist’s work for another’s, then it lacks a personal signature. But when an artist develops a recognizable style, their work speaks for them, even in their absence—it becomes their artistic fingerprint.
Artists should strive to cultivate their own uniqueness and master their craft. Excellence and quality will always be the ultimate markers of success. During the Kentucky jury session, the panel did something remarkable—they disregarded academic credentials and let the art speak for itself. It was a reminder that technical qualifications don’t always translate into profound artistry. Some artists accumulate degrees but produce uninspired work, while others—naturally gifted—create breathtaking pieces without formal training. In the end, it’s about talent, vision, and a strong commitment to originality.
Lessons from Solomon Okpurukhre on Selling Art Successfully
FAB: As a curator, you’re talking about the need for uniqueness, a unique voice that, just like a musical artist, I could tell Burna Boy from Wizkid just by hearing the voice.
Solomon Okpurukhre: Absolutely. You have to be known for what you do in your own unique way. So, that’s the same thing with the visual artwork. Because there are many visual artists, they’re skilful; they can do things, but it’s like repetition. It’s like you’re copying somebody’s style; you want to make it one-to-one. You can be inspired by what somebody’s doing because even in the music industry, a lot of artists are inspiring one another. It’s natural. But when you want to release your own voice or your own artwork out there, make something new out of it.
FAB: Sometimes when we fail, we just give up and do not acknowledge that failure itself is part of the ingredient for success, or in fact is success on its own. Because if you don’t fail, you can’t grow. Can you tell us about a project that didn’t go as planned and what it taught you about resilience and growth in your own practice? Have there been any?
Solomon Okpurukhre: Yeah, there have been many, but I wouldn’t see it as a failure. Let me start with Thomas Edison, the man who invented the light bulb. He made an experiment many more than nearly a thousand times, and he got people to call it a lightning field. And when he was interviewed, he didn’t use the word failure, but he said, I discovered nearly a thousand ways that you cannot make it happen. If you want to have that mental strength of understanding that life is always progressing, you are progressing. It’s a process of learning new things, gaining wisdom, and understanding things. In my own personal life experience, I would say I’ve done some kind of major art phase, and it comes with investing money there. I’ve got some successful ones. I’ve got some ones that I didn’t make any sales because you learn from them.
Today, overall this experience, I began to understand what kind of art fair we do well and which one will not do well. Some of those art fairs are only surviving by creating those kinds of art fairs and getting money from the artists. But there are other art fairs, for instance, who are the database of collectors? They can make things happen, and then you’ll be successful when you do their shows. Everything that people think is a failure is another way of learning and gaining wisdom. You learn along the path. Even in creating your own artwork, for me, in the midst of creating, it’s like an experiment. You keep discovering. Whatever you’re doing today, over many years, you’ll get better and better and better.
At the end of the day, eventually, Thomas Edison created the light bulb, but if you look at how many times people would call it a failure, he never gave up. If you want something so seriously, you’re so determined that this is something that I was created or predestined to do; it is like a burning fire within you. You keep pushing up. And eventually, consistency and perseverance have their own reward at the end of the day because you’ll be noticed and known. In my part of Austria, where I live now, in Vienna, if you come to that place and ask about the artist Solomon, there will be, “Oh, the artist, the gallerist, the curator.”. You gain things over time; you don’t just acquire all this recognition. You don’t just acquire all this fame and wealth or success just by doing it a few times and saying, It’s not working, and you give up. No, but if you want to make it, if it’s going to work, you’ve got to work it. You’ve got to be so determined. Your tenacity, your confidence, and your belief to keep building yourself. Most of the successful people, even in companies or in the areas of business, all have their own challenges.
We’ve seen many people that their company will fold up and they will start again with a new name, a different company, because there’s so much belief. It takes a lot of risk, time, effort, confidence, determination, faith, and belief to get major success at the end of the day. If you believe in a dream and you really know that this is meant for you, you’ve got to hold on tight.
It will not just come like that. It’s like you’re going through stormy times, tumultuous times, different kinds of times, but eventually, at the end of the day, you will be known for that, and doors will begin to open. Connection and opportunities will come up along the path. In most cases, when you ask people about their success story, they will tell you that they went through their own challenges too. Most of the successful stories we see out there, they all have their challenges. Everyone will do. At the end of the day, if you believe so much and you hold on tight and keep persevering, definitely, eventually, you will come to that place of joy and victory.
FAB: Excellent submission. How do you want future generations to interpret your work? What do you hope your legacy will be?
Solomon Okpurukhre: I hope for the best, and by the grace of God, I am already witnessing beautiful things happening in my time. I am blessed with four amazing children, all now grown, ranging in age from 25 to nearly 18. They have grown up immersed in my work, seeing and understanding what I do, and I am grateful that my creativity has inspired them. My second daughter has won prizes for singing, my son is also a singer, and we have visual artists in the family as well.
I envision a wonderful and lasting legacy, one that extends beyond my lifetime. It is not just about what I try to instill in them; it is a God-given grace that runs in our family. Creativity has been present in my lineage before me—my uncles, even my mother, possessed artistic talents. I believe it is an intentional act from God that we are gifted in this way and that we are meant to contribute to the creative industry.
My goal is to pass on this knowledge, not only to my immediate family but also to others through my work as a curator. When I review artworks, I focus on nurturing and developing talent rather than criticizing. We are all continuously evolving and improving, so I strive to encourage rather than condemn. Many who have attended my art symposiums or classes express deep gratitude because they find motivation and support in my approach.
I understand that part of my role is to uplift others, not to tear them down. Those who have crossed paths with me will remember me as an artist deeply passionate about creativity and dedicated to helping others shine. By the grace of God, I believe my legacy will be one of inspiration, encouragement, and artistic excellence.
FAB: If art could solve one of society’s pressing issues, which would you choose right now?
Solomon Okpurukhre: The question is right on point because I know art is already solving a lot of society’s issues. I know many artists who are specifically in the areas of arts therapy, and that’s an amazing venture that I would choose because even in our own country, Nigeria, people are going through some kind of challenges that you cannot even imagine, and there are other parts of the world where you see too many wars. People need to understand and get another new sense of life.
Art therapy would be a major thing for society, creating awareness for the young generation and even adults alike to create an atmosphere whereby they can be in a place where they will feel so happy and free and gain something about the quality and the beauty of life again. Because people are losing it in the sense that life is too difficult and too challenging. Because of the kind of issues going on in the world right now. So I would definitely think that there should be a creative idea in every community and in every country whereby creative people will be given a chance to address issues that are challenging and create some joy and hope through the artistic work and creativity.
We see this effect in music—when people hear a song, they dance, rejoice, and feel alive. The same applies to visual arts. However, for art to truly make an impact, governments and communities must create opportunities for creative minds to address social challenges and bring hope through artistic expression. If more leaders supported art therapy initiatives, it could become a transformative force in society.
