Tunji Adeniyi-Jones, a 33-year-old London-born artist based in Brooklyn, New York, has captured the attention of international art collectors with his distinctive approach to abstract painting that seamlessly blends West African history with contemporary artistic forms. His work, deeply rooted in Yoruba heritage and mythology, has gained significant recognition following his notable contribution to the Nigerian Pavilion at the 2024 Venice Biennale.
At the prestigious Venice Biennale, Adeniyi-Jones created a striking installation that demonstrated his unique artistic vision and talent for perspective transformation. He installed a luminous orange and yellow painting featuring swirling abstract and figurative forms on the palazzo's ceiling, embodying his remarkable ability to infuse West African history and Yoruba mythology into paintings that feel distinctly contemporary and relevant to modern audiences.
The artist's commercial success has been equally impressive, with White Cube beginning to represent him in 2021. His works have found their way into the permanent collections of major institutions, including the Dallas Museum of Art and the Pérez Art Museum Miami, cementing his position as a significant voice in contemporary art.
When asked to describe a work that captures his essence as an artist, Adeniyi-Jones points to "Dance in Heat," a piece now in the collection of the Pérez Art Museum Miami. This bright red and orange painting depicts three figures in motion and was displayed by the museum for an extended period, receiving enthusiastic responses from visitors. According to the artist, this work encapsulates everything he has become as a painter, showcasing his interests in figuration, abstraction, color, shape, line, and form all within a single piece.
Adeniyi-Jones describes his artistic approach using three key words: bright, bold, and resonant. His work consistently demonstrates these qualities through vibrant color palettes and powerful visual compositions that speak to both personal heritage and universal human experiences.
Looking toward future creative endeavors, the artist reveals unexpected aspirations beyond traditional painting. If given $150,000 with complete creative freedom, he would use the funds to launch a clothing line featuring pants, jackets, and tops. He draws inspiration from artist Sterling Ruby, who successfully operates a clothing line alongside his studio practice, noting that he has "quietly always liked that idea."
The artist credits two influential figures with changing the trajectory of his career and artistic thinking. Lynette Yiadom-Boakye encouraged him to move to the United States to pursue an MFA degree eleven years ago, a decision that proved pivotal to his development. Additionally, his MFA professor Sam Messer introduced him to the work of artist Bob Thompson through a book recommendation. While both gestures seemed ordinary at the time, Adeniyi-Jones acknowledges that they completely altered the course of his life and artistic development.
In his studio practice, Adeniyi-Jones relies on surprisingly practical tools, particularly wet wipes, which he considers crucial for working with oil paint. He maintains aspirational studio rules, including the goal of leaving either his phone or laptop at home to increase productivity, noting that he accomplishes infinitely more work without these digital distractions.
Regarding current art world trends, the artist expresses frustration with social media requirements, particularly the need to add music to Instagram posts to reach wider audiences. He characterizes this as more of a social media complaint than an art-world issue, reflecting the challenges contemporary artists face in navigating digital platforms for promotion and audience engagement.
For his dream art-world dinner party, Adeniyi-Jones would invite three carefully chosen guests who represent the intersection of athletics and arts. His selections include Ernie Barnes and Michael Bennett, both NFL athletes who successfully transitioned to artistic careers, acknowledging the rich discussions possible about the intersection between these disciplines. His third guest would be Grace Wales Bonner, reflecting his interest in contemporary creative voices across different mediums.
Adeniyi-Jones's inclusion in CULTURED Magazine's 2025 Young Artists list represents recognition of his growing influence and the international appeal of his Yoruba-inflected abstractions. His work continues to attract collectors from around the globe who are drawn to his unique ability to bridge cultural heritage with contemporary artistic expression, positioning him as a significant emerging voice in the international art scene.
