“Culture Isn’t Static”: Photographer Aisha Seriki on Spirituality, Sculpture, and Discovering Her Voice on the RCA

Q: You grew up between Nigeria, Southeast Asia, and London. How have these locations formed your perspective as an artist?

A: Being round completely different cultures made me extra open, with a extra international view. I used to be all the time desirous about how tradition adjustments and strikes, but in addition how issues are linked between completely different cultures.
Now I believe there’s a greater understanding that tradition isn’t static—it shifts and shapes, and completely different locations affect one another. Living in South Asia made me extra interested by different locations.
London, the place I’ve lived most of my life, formed me via my curiosity in historical past. I usually return to the Victorian period—its developments in know-how, particularly pictures and artwork, but in addition the broader international impacts of Britain at the moment.

Q: Are there any explicit landmarks or locations in London that feed your creativeness?

A: I really like the V&A. It’s my favorite place—and one among my favorite libraries for its assortment.

Q: What made you select the Photography MA on the RCA?
A: I didn’t know a lot concerning the RCA. I stumbled into fascinated with making use of in 2021—I used to be a finalist on the Taylor Wessing Prize, and once I had my exhibition, individuals saved asking me, “What’s next?”
I’d by no means correctly studied pictures. I did it at A-level, however not at undergrad—I selected Liberal Arts at SOAS as an alternative, which I beloved. I believed I may all the time apply pictures on the aspect.

When individuals saved mentioning postgraduate research, the RCA saved developing. I met some RCA college students at a non-public view they usually spoke about how a lot they favored it, which planted the seed.
The deadline was minutes away once I utilized. I practically didn’t—instructed myself, “No, I’m not doing it.” But a pal inspired me to only ship it in. So I did, and that’s how I ended up right here.

Q: Looking again, what’s been a very powerful factor you’ve taken out of your time on the RCA?

A: The independence. Coming from humanities, I used to be used to construction—essays each couple of weeks, fixed suggestions. At the RCA, you needed to make your personal choices with out understanding in the event that they had been proper or unsuitable. That was scary at first, however in hindsight it ready me for all times after.

I used to be additionally the one Black individual on the course, which generally felt isolating. People didn’t all the time know the way to discuss my work. Yes, there are Black individuals in my photographs, however that’s not the supply—I’m extra desirous about spirituality, pictures, and ideas. But in crits, individuals usually didn’t know what to say.
Still, I discovered neighborhood via RCA BLK, the technicians (who had been wonderful), and my tutors.

Q: You did an RCA BLK residency in Lagos this yr. How has that have influenced your work?

A: Loads of being an artist is the non–artwork making—the roles and admin that hold you afloat. So the residency was wonderful as a result of I may focus solely on my work for six weeks, with out worrying about cash or shifts. It got here on the good time: after graduating, I used to be burnt out and uninspired. Lagos re-energised me.
It’s such a vibrant place—in case you want inspiration, Lagos will give it to you. I made new work there—sculptures and pictures. My course of is gradual, so I don’t know after they’ll come out, however the residency actually reconnected me with why I make work.

Q: Your mission Orí Inú explores Yoruba concepts about religious future. How did you first join with that theme?

A: During my undergrad analysis, I wrote a dissertation on the impacts of colonialism on Yoruba spirituality. That’s once I first began exploring Orí.
The concept is that your Orí is your religious future—one thing you select earlier than coming to earth. Some name it your GPS. If you choose a foul future, you reside it out; in case you choose a great one, nice. Life is about navigating that path.
I returned to Orí as a result of I wished to deliver what I used to be desirous about theoretically—spirituality, philosophy—into my artwork. Before, I saved these pursuits in academia. At the RCA I realised I may weave them into my apply, and into my very own rediscovery of pictures and artwork.

Q: Orí Inú combines pictures with sculpture. What drew you to deliver these mediums collectively?

A: I’d all the time been desirous about three-dimensional work, however earlier than the RCA I wouldn’t have had the boldness to strive.
I wished to make work that slowed down the viewer’s gaze. While researching bell hooks, I learn her level that imagery of Black individuals is commonly consumed too shortly—individuals scroll previous, used to seeing dehumanising tropes. To make highly effective work, you could create photographs that maintain viewers, letting them see complexity.
That actually stayed with me. I began photographing combs and making nonetheless lifes—my work usually makes use of symbolism. But then I believed, as an alternative of simply photographing the objects, why not make them sculptural?

Q: What’s thrilling you for the time being? Are you engaged on one thing particular?

A: Before the RCA, I felt like I’d end a mission and that was it. Now issues really feel extra round. I shot in Lagos in January and May this yr—these tasks aren’t lively proper now, however I do know they’ll return, like concepts I had on the RCA which have come again later.
At the second, I’m targeted on constructing the world of the combs. I need to do a present that’s absolutely sculptural.

Q: You’ve mentioned your apply has shifted “from didactic to poetic.” What does that imply for you in sensible phrases?

A: When I began, pictures was a means of addressing social justice. I wished to make use of it to speak about points I cared about. But on the RCA, I realised I didn’t need to underestimate the viewer by over-explaining or telling them what to suppose.
If you give individuals the “answer” instantly, it doesn’t elevate questions. My method now accepts that views change, tradition shifts, and everybody comes with completely different experiences. I would like my work to open conversations slightly than shut them.

Q: What recommendation would you give present RCA college students about profiting from their time right here?

A: Try all the things. Literally—use all of the assets you’ve got entry to.
Your present may not be nice, and that’s okay. Use the time to discover, step outdoors your consolation zone, and experiment. Don’t restrict your self to only one factor or to what you got here to the RCA meaning to do—it’ll most likely change.