Without knowledge, our artists remain vulnerable to exploitation, burnout, and being undervalued – Solomon-Ayeni

Kikelomo Solomon-Ayeni is a creative artist who navigates the lines between artistry and enterprise. Over the years, she has demonstrated that her journey is not just about creating art, but also about reimagining how African creativity can thrive in a global economy, having exhibited African creatives in London, Berlin, Palma, and New York. In this interview with BusinessDay, she envisions Africa’s creative economy becoming a central force and key contributor to the global creative industry. JOHN SALAU brings the excerpts:

You have been in the art space for some years now; kindly tell us more about your creative work and why it feels deeply personal.

I am a multi-talented artist with a keen eye for detail and a heart dedicated to social change. I seamlessly merge my artistic talents with my advocacy work to create impactful visual narratives. I am driven by a deep love for documenting the lives of women and children. My photography goes beyond mere images; it serves as a powerful medium for advocacy and social awareness. I find profound joy in capturing the essence of a child’s journey, from the womb to the world, and I am committed to shedding light on their stories. For me, art is not just aesthetic; it is spiritual and emotional. I want my work to be a safe space for others to see themselves, find their voice, and believe in their worth. My works have been shown in various galleries across the world. The recent ones being Boomer Gallery London, Praxis Gallery Minneapolis, USA and Independent ArtSpace in China.

Can you share what inspired your journey in the creative economy space over the past 10 years?

I believe my entry was divine. It began with a strong conviction for me to pursue photography, a medium that trained my eyes to notice light, colour, emotion, and the unspoken stories that shape our everyday experiences. Photography taught me how to observe, and made me aware of the limitations that artists in Africa often face when trying to build careers from their talent. Very early, I already understood that passion alone was not enough. I saw talented creatives around me struggling, not because they lacked skill, but because they lacked business understanding, infrastructure, and mentorship. This made me pursue artistic excellence and systems-building. I wanted to create platforms where creativity could be both celebrated and sustainably monetised. That intersection of artistry and enterprise is where my work continues to thrive.

As a creative artist, why is education important?

Education is foundational to everything I do. I am a World Bank scholarship beneficiary at the Enterprise Development Centre, Pan Atlantic University, where I studied entrepreneurship management. I upgrade my business knowledge every time. I recently finished a master’s in management from the University of Derby. A man cannot go beyond the knowledge he has. Without knowledge, our artists remain vulnerable to exploitation, burnout, and being undervalued. That is why at the Nirmala Chellarams Centre for Entrepreneurship Skills, I helped develop curricula that integrate business education for creative entrepreneurship. I also teach business at the Nigeria Photography Expo and Conference often. I teach artists how to build sustainable models from sourcing finance to negotiation and market understanding.

What recognitions have meant the most to you, and why?

Each recognition I have received, whether it was the World Bank, the Cherie Blair Foundation, the French Consulate, or the UK Arts Council Global Talent Endorsement, has affirmed that the work I am doing matters both locally and globally. What these recognitions do is open doors for me, the communities and artists I represent. They have enabled me to scale impact, access funding, build networks, and amplify the voices of those often overlooked. They prove that when we invest intentionally in African creativity, the returns social, cultural, and economic returns are profound. They are validations of a larger argument around for years: that Africa’s creative industries are not fringe sectors, but are powerful engines of economic growth and cultural diplomacy. However, I don’t let them define me. Staying humble and focused is a key to going higher and further in life.

With all you have achieved, what are you most proud of?

I am proud of the impact my art (visual and written) has made and is making in the lives of people. I am also proud of the legacy I am building. A legacy that challenges the world to see African artists as global players, cultural ambassadors, and economic actors capable of shaping markets, narratives, and futures.

You often talk about ‘infrastructure for artists.’ What do you mean by that?

When I talk about “infrastructure for artists,” I mean all the systems, structures, and support networks that allow artists to thrive beyond just creating the work. Art doesn’t exist in isolation; artists need spaces to show their work, platforms to connect with audiences, opportunities for funding, training, and collaboration. Without these, even the most talented artists can struggle to grow or be seen. So for me, building infrastructure is about creating sustainable ecosystems around artists, from galleries and residencies, to mentorship programs, to policies that support creative careers. It’s about making sure that artists are not just surviving but are positioned to influence culture, shape communities, and participate fully in the global art conversation.

Could you tell us about Red19 Photography and how it has evolved over the years?

Red19 Photography was born in 2011, during a time when Nigeria’s art market was still fragile and underdeveloped. Starting a photography brand then was seen as risky, but I was determined to create something meaningful. I was sure that there is a future for me in the creative space and photography was my starting point. I started my business carving a niche for myself in Children, Maternity and Family photography. The goal of the business was to promote family bonds. This type of photography never existed in Nigeria then so it was difficult to sustain the business at the early stage. I embraced other types of photography to ensure there was constant cash flow. I would not market the other photography I did but I often got referrals for them and it helped keep the business afloat till the niche became viable. As the year went by, I created an arm for wedding and event photography, photo editing training, photography training and mentorship, video production; little by little we grew as opportunities unfolded to the organisation.

What is Red19 Global, and what makes it different?

Red19 Global is the evolution of my desire to scale African creativity beyond national borders. Based in the United Kingdom and Virginia USA, it serves as a bridge between African creators and global audiences. What sets it apart is its holistic approach; we’re not just organizing exhibitions or selling art; we’re building a full creative ecosystem that includes artist representation, cultural storytelling, portfolio reviews, and strategic partnerships. I created Red19 Global because I saw a consistent problem: talented African artists were not getting the global visibility, structure, or support they needed. Red19 Global addresses that gap. It is designed to help African and diaspora creatives gain visibility that their work deserves and also access international markets. Red19 Global is about reimagining what a global platform for African art can look like, one rooted in cultural relevance and economic empowerment.

So far, how do you define success for Red19 Global?

Success for Red19 Global is not just about how many exhibitions we have done, but about the depth of engagement and opportunities we have created for artists. In less than a year, we have showcased African creatives in cities like London, China, Berlin, Palma, and New York. These exhibitions were more than showcases; they are strategic entry points into wider networks of residencies, sales, critical reviews, and collaborations. We have had artists get featured in the international press, and build sustainable careers off the visibility they have gained. The kind of success that matters to me is one that creates platforms that are beyond displaying art, but build momentum, open doors, and create tangible, long-term benefits for every artist involved.

You have been active in cultural programming. What is your curatorial approach?

I believe that exhibitions and cultural programs should reflect the lived experiences of the communities they serve, and also create space for new interpretations and voices. My curatorial approach is a mix of open calls and invitations. With open calls, I give space for a wide range of artists to take part, especially those who might not normally get opportunities to show their work. It’s a way of discovering new voices, bringing diversity, and making sure fresh ideas are always part of the conversation. On the other hand, I also use invitations when I want to bring in artists whose work connects directly to a theme or story I am curating. This gives the exhibition focus and ensures the message is clear and impactful. By combining both approaches, my programming stays inclusive and intentional. It opens doors for many artists while still shaping a strong narrative. In the end, my goal is to create cultural projects that are accessible, meaningful, and that spark dialogue between artists, audiences, and communities.

Finally, what is your ultimate vision for the African creative economy?

My ultimate vision for the African creative economy is for it to be recognised as a core driver of the global creative industry, not a peripheral contributor. A source of innovation, influence, and sustainable growth that shapes global culture. Africa’s creative voices are among the most original in the world, and I see a future where they circulate freely across international platforms, enjoying the same visibility, infrastructure, and commercial power as any established creative hub. To achieve this, African artists must be able to create locally and compete globally. That requires strong infrastructure: platforms that give visibility, systems that protect intellectual property, financing that supports risk and growth, and networks that connect artists with global markets. This is where Red19 Global plays a pivotal role. Through our cultural programming, exhibitions, and artist development initiatives, we provide the scaffolding that allows artists to move from idea to international stage. We combine open calls that invite diverse participation with curated invitations that ensure artistic excellence, creating opportunities for both emerging and established artists to showcase their work to the world. In essence, Red19 Global represents the infrastructure that makes my vision tangible. It is a bridge between African talent and global opportunity, a platform that ensures African artists are not only part of the global creative conversation but are actively shaping its future. By supporting artists with visibility, skills, and access, Red19 Global contributes to an Africa whose creativity is not just preserved but projected onto the world stage, where it belongs.