Móyòsóré Martins, a self-taught mixed-media artist, uses his art to express his innately curious and spiritual nature. Raised in Lagos, Nigeria by a Brazilian father and a Nigerian mother from Ekiti state, Martins began using a paintbrush and pencil at a young age. He combines his traditional Yoruba cultural roots with a contemporary vision to create artwork that blends figurative, abstract, and narrative elements drawn from his unique life experience, including his journey from Nigeria to his Bronx studio.
Martins’s deeply symbolic artwork frequently features cultural and personal iconography, reflecting his life experience. His paintings are richly textured and use bold brushstrokes, thick oil paint, drawings, scribbles, collaged materials, and text. The vibrant, heavily layered canvases often include spiritual elements and wishes manifested and fulfilled. In addition to painting, Martins also creates three-dimensional art through using found objects and mixed media. As Martins describes:
My artwork is intentionally raw. I like to use a lot of different materials and have rough-cut edges on the canvas. The paintings are textured with scratches, scribbles, and mud-like paint, as well as clay, liquid plastic, oil sticks, chunky layers of oil paint. I layer the background and then deconstruct them, which gives the feeling of wear and tear on the canvas. No painting is alike as each has symbolic patterns and encrypted messages hidden within it. I want to merge the vision with the given and the new world that I live in now. The word “Why?” is seen in a lot of the work because it leaves you asking the same question.
Forbidden by his father to create or study art, Martins spent his college years in Ghana and the Ivory Coast studying computer science. He immigrated to New York City in 2015 to pursue his artistic ambitions. Martins’ artwork has been exhibited at the Nassau County Museum (Roslyn, NY), TrafficArts (New York, NY), Long-Sharp Gallery (Indiannapolis, IN), Robert Fontaine Gallery (Miami), Path Gallery (Los Angeles, CA), Galerie Tanit (Beirut), and Crossing Art (New York, NY).
Móyòsóré Martins
Bronx Studio, NY
2021-23
EXHIBITIONS
2024 MÓYÒSÓRÉ MARTINS | TRAFFICARTS, Paris | with support of Jerome Neutres, Aurore Blanc, and Asher & Michelle Edelman
2024 MÓYÒSÓRÉ MARTINS: Through the Light | Olivier Varenne Gallery, Geneva
2024 Arms Around The Child Foundation, Ghana (Artist in residency)
2024 TANG Contemporary | Hong Kong | Group Show
2024 Frieze Los Angeles | Mitochondria Gallery
2023 Scope Miami | Mitochondria Gallery
2023 Art Shenzhen | Crossing Art | Shenzhen, China
2023 Butter | Indiannapolis, ID
2023 Robert Fontaine Gallery | Portraits in Focus | Group Show | Miami, FL
2023 Robert Fontaine Gallery | Intimate | Group Show | Miami, FL
2023 Solo Exhibition | Crossing Art | The Artist Journey | New York, NY
2023 Beijing Contemporary Art Fair | Crossing Art
2022 Beverly Hills Art Exchange | Group Show | San Francisco, CA
2022 Art Miami | Long-Sharp Gallery | Miami, FL
2022 Solo Exhibition: Long-Sharp Gallery | Indiannapolis, ID
2022 Butter | Indiannapolis, ID
2021 Nassau County Museum, Songs Without Words: The Art of Music | Roslyn, NY
2021 Path Gallery | Los Angeles, CA
2021 Long-Sharp Gallery | Conrad Indianapolis | Featured Artist | Indiannapolis, ID
2021 TrafficArts | New York, NY
2019 Dacia Gallery, Holiday Group Exhibition | New York, NY
2018 Heath Gallery | New York, NY
PUBLICATIONS
Forbes, 2024
WWD 2024
OdaCulture 2024
Daily Trust 2024
Afrotique 2024
Art Basel News 2024
Whitehot Magazine, The Vibrant Paintings of Móyòsóré Martins, 2023
Forbes, Móyòsóré Martins Solo Show, 2023
Flaunt, Móyòsóré Martins: The Artist Journey, 2023
Artnet News-Buyers Guide Spotlight, 2023
Artnet News, Art Collectors, 2023
Forbes, Sotheby’s Contemporary Discoveries, 2023
NY Magazine/Curbed, 2022
Pattern Magazine, 2022
Considering Art Podcast, 2022
Yahoo News, 2022
Portray Magazine 2021
Office Magazine 2021
Art Daily 2021
Móyòsóré Martins Shows Up to Paint, Podcast with Asher Gottesman, 2021 Forbes, 2019
2017 Grady Alexis Gallery | Art United Presents: Radical Resistance to Xenophobia | New York, NY Borrowed Time 2022
WRTV, 2022
Forbes 2021
Móyòsóré Martins bridges abstract, figurative, and iconographic symbolism. He expresses the beauty in the figure and the depth of its subject; he obsesses with a cartoon-like character that imbues his personal iconography and that has a deep symbolic meaning. His approach is narrative and realistic in the early works, returning to his childhood memories. The African statue is increasingly present and spiritually meaningful in his work. He is fascinated with contemporary plastic toy statues and collectibles from artists like Kaws, representing everything different in juxtaposition to the traditional Yaruba figures. A seminal work, “Watchman,” resonates; the painting is a study of the Yaruba figure and is interpreted by Martins as the man taking on his destiny, with a nod to his experience while employed as a night watchman in the Bronx—a lasting impression.
Martins expresses the emotion of the characters he deftly paints, the backgrounds layered, manipulated, scratched, and then infused with text. He places himself in the canvas, in the artwork, both in spirit and name, even his birthdate. He scribbles words, mathematical formulas, mantras, and prayers. He visually expresses his internal conversation, which shifts as his world does—as a visual biography. He resists being put in a box. His unique use of materials and story is the cord that ties his work together.
Parallel 2023 Oil, oil stick, pigments, charcoal and canvas
“Culture” is a quadriptych which for Moyo represents his’ dedication and sacrifice to become an artist—best described by him as a “do or die affair, when I knew there was no going back.’’ This is for him a very personal series as this is his very first paintings after arriving in New York.
Each painting in this group tells the story of the artist and his journey of coming to the west and becoming a full-time artist. Expressed through his culture lens, but never limited to that perspective. “That’s me moving to the USA, the culture shock, embracing the culture, finding who I am as a person, identifying my gifts and embarking on my journey without fear. Knowing that, yes, I’m going to fail, but there’s no looking back.”
The color tones and patterns of the backgrounds unify the group. Martins’ unique brushstrokes define the perception of multiple dimensions. Slashed paint and drips, the incorporation of real textures using ancient cowrie shells, African beads and torn canvas, allow him to tell his story and express the deep spiritual meaning of the sacrifices from his Yoruba culture.
Culture (Quadriptych)
2016
Mixed Media on Canvas
Each 48 x 36 in. (120 x 90 cm)
“This painting is a study of a classic Yoruba statue. I’m kind of obsessed with artifacts, both the ones from where I come from, that have so much power and meaning and spirituality. When I came to the states I began collecting the contemporary ones from here. In this painting the artifact has precise details and the a background is a contrast with many layers and hues of red oil paint. The colors transcend to a lush terra-cotta hue. The original purpose of the object was a stool. It shows a woman, who is held up by the men below, and she carries a baby on her back. Women have a prominent role in Yoruba society and are prominant and strong. The traditional pieces are carved from a single block of wood by Yoruban craftsmen and artisans. I tried to create the object in this piece with simplicity and the same essence and motions of a sculptor, using one stroke to identify one or more surfaces or dimensions.
The background is an intentionally “grungy” verse of colors in various mediums and textures one can get visually lost in. Africa is grunge and beautiful—beauty in dirty. Like where I come from, grungy and colorful.”—MM
Dogon 2019 Oil on Canvas 65 x 53 in. (162.5 x 132.5 cm)
Gbe Mi 2019 Oil on canvas
65 x 50 in. (165 x 127 cm)
An early work, “Glory” embodies Martins’ sacrifice of leaving home, in Lagos, Africa and the struggles of a 9-5pm job to become a full-time artist in NYC after recognizing and embracing his true calling. The foreground of the painting depicts a male figure who is presenting himself in a humbled expression, with a green gift in his hands. Located in what seems to be a natural shrine in a jungle that houses sculptures and carvings of various scales, also serves as the background of the painting.
on Canvas 60 x 48 in. (150 x 120 cm)
This is an early “Watchman” painting. It is a study of a Yoruba artifact, which in its essence and purpose is loosely defined as a watchman. A watchman, in Yoruba culture, is someone or something that is placed in household spaces for security, protection, peace, blessings, good luck and to drive away negative energies. Móyòsóré Martins gets his inspiration from a spiritual visions and the result is a verse of expressions and thoughts that follow.
The painting combines Martins’ signature abstract expressionist brushstroke and color palette, with textures and details in juxtaposition to the more studied artifact. The details in the background are embedded with coded icons from Yoruba culture, words, scribbles, and scratches—like mantras and prayers.
Martins worked as a night watchman when he first arrived in NY. This was a difficult period, one with great struggle and poverty. The work was a dystopia of experience and made a significant impression on him. This painting is inspired by that experience as well as the spirit of the proud African man he is.
Ashe Po 2018 Oil on Canvas
65 x 72 (162.5 x 180 cm)
Collection of Rhonda Long-Sharp
The Mix
(Show me your friends and I’ll tell you who you are)
2019 Oil, Oil Stick, Pigment on Canvas 61 x 85 in. (152.5 x 212.5 cm)
Private Collection New York
Erin Ayo (Laugh of Joy) 2019 Oil on Canvas 64 x 44 in. (162 x 111 cm) Collection of Donnalyn Patakos
Savior 2021
Oil on Canvas
72 X 64 in. (180 x 160 cm)
Private Collection, Florence, Italy
The Redeemer (Triptych) 2021
Oil on Canvas
72 x 144 in. (180 x 360 cm)
Personal Collection of Artist
MAMA
Ring Around the Rose 2019 Oil on Canvas 65 x 78 in. (162.5 x 195 cm)
Memories from childhood.
Oil on Canvas
65 x 45 in. (162.5 x 112.5 cm)
The Chosen Ones
2019 Oil on Canvas 77 X 64 in. (192.5 x 160 cm)
Martins worked steadily through the 2020 pandemic. This large scale work on canvas represents the fear he was experiencing. He was troubled about a lack of money and the need to buy milk and food for his child. In Harlem there was an extreme shortage of rice and toilet paper.
As is typical in his work you see the repetition of words which are his mantra and prayer to bring needs to him. The skeleton figures represent him and his family. In the center of the painting you see a lightening of color with a very small figure which could represent how small and alone he felt. You can feel his fear.
Oil paint, oil stick, raw pigment, charcoal, oil pastels, and gold leaf on canvas 85 x 105 in. (212.5 x 262.5 cm)
detail 1
detail 2
Lekki 2021 Oil on Canvas
73 x 64 in. (182.50 x 160 cm)
Collection of Asher & Michelle Edelman
Painting
Painting
Alaabo—”The Protector” Oil on Plastecine
9 x 8 x 16 in. (22.5 x 20 x 40 cm)
The March 2021 Oil on Canvas Diptych 60 x 120 in.
(150 x 300 cm)
“This painting is about the different parts of my journey, my growth, the obstacles, the pitfalls, as well as the exposure, and the lessons and understanding of one’s worth. When you sit and think about it. You’re the only one who can evaluate yourself and stay true to yourself. What you see in the mirror is what you truly are but at the same time what you see in the mirror could be merely something that you think you are. Both can be very heavy sometimes.”—MM
Heavy Sometimes
2021
Oil on Canvas
77 x 84 in. (192.5 x 210 cm)
Collection of Rhonda Long-Sharp
Through My Very Own Eyes, 2021, Mixed Media, Collage on Canvas, 60 x 96 in. (150 x 240 cm)
Collection of Asher & Michelle Edelman
Mixed media on plexiglass
(Oil, oil stick, pigments, ink, graphite, and collage)
Painted on both sides
52 x 50 in. (130 x 125 cm)
EGO II
Private Collection Geneva
(Front)
(Back)
“I made this painting after my first solo exhibition in Los Angeles, fall ‘2022. I was overly tired, exhausted, and drained. I put all my emotion in this work. I had just gotten a new studio in the Bronx—the first time I had a real studio, so I had big expectations. Then nothing came. My brain was fuzzy and out of focus. Coffee didn’t help. I fasted for a few days, cut out alcohol to get deeper clarity. I was having a total artist block. It was the first time ever and I had to work through it.
In this painting I worked primarily with layers of oil paint, pigments and charcoal on canvas.
I use a lot of personal iconography, symbols and messages in my work. For me, the eyes and the eyeballs are symbolic that my work is being seen. The figure in the middle is me— with a sense of clarity. The mouth behind the face is people talking about me.” —MM
Artist Block 2022
Oil, oil stick, acrylic, and charcoal on canvas 70 x 70 in. (175 x 175 cm)
Private Collection Indiannapolis
Móyòsóré Martins exhalts the tradition of the Abstract Expressionist painters—the beginning.
Figurative and conceptualist elements then take the stage. Hatching, hard-handed distress brings the work together in harmony and depth—Móyòsóré’s own total.
— Asher Edelman
Self Demon 2022
Oil, oil stick on canvas
72 x 48 in. (180 x 120 cm)
“This artwork is about the big picture of the journey of love and support. About the woman being there for the man through his beginnings. The sacrifice, love and devotion, and now through the path of freedom—happiness and success.” —Móyòsóré Martins
Just Us II, 2022
Oil, oil stick, acrylic, pigment, pigmented wax and charcoal on canvas
78 x 60 in. (195 x 150 cm)
Private Collection Indiannapolis
Crumble 2022
Oil, oil stick, pigment, and charcoal on canvas
72 x 145 in. (180 x 368 cm)
Private Collection, Texas
“I made this painting when I returned to NY from my exhibition in Los Angeles. I had just gotten a new studio in the Bronx. I left all of my African artifacts at the exhibit in LA, which are my protection, my grounding. I felt like I was stripped away. The painting reflects my inner frustration, my feeling of emptiness, and then a creative block. I was feeling a bit depressed. I was processing and coming to terms with myself— that I wasn’t feeling in control. The not knowing, and, that trust is a dangerous thing. How relationships are bigger than currency. The man in the middle of the painting is like my subconscious— I’m constantly asking God for help, for money, and forgiveness. I always say thank you for the things I don’t even have. This is me coming out of my comfort-zone—leaving my house and going to the studio and getting back in control again. I needed to go through the process.”—MM
This painting represents a “blissful realization.” The inspiration behind it is when one is wanting so many things and trying to choose which is the most important, kind of like an obsession of “want.” Putting too much effort on one thing—this is an evocation of the bliss when all the pieces come together. Finally, when all the things you are working for all come together—and this is “As it Should Be.”
—Móyòsóré Martins
As It Should Be 2022
Oil, oil stick, pigment, and charcoal on canvas
A Polyptych 48 x 60 in. (120 x 150 cm)
Total size 96 x 120 (240 x 300 cm)
Private Collection Indiannapolis
“Seen is a series of works I created about being seen and my own seeing. This is the theme of this exhibition (Long-Sharp Gallery, Indiannapolis, 2022). It represents my feelings about people’s expectations. The art world, fellow artists, and the demand for the work are working in countries I’ve never been to. There’s sometimes frustration and a sense of my own ego in juxtaposition to expectations. A feeling of being
Seen (Female) 2022
Oil on canvas
40 x 30 in. (100 x 75 cm)
Private Collection, Paris
put in a box—regarding what the work should be. The brush strokes feel aggressive and fast. The mouths on the back represent talking back. Everyone has things to say. Eyes are about seeing and the exposure to being seen. The stripes on the characters’ clothes, which I often reference in my work, represent my home, where I come from, and 1986 is the year I was born.”
Seen (Male) 2022 Oil on canvas
40 x 30 in. (100 x 75 cm)
Private Collection, Beirut
Oil, oil stick, pigments, and charcoal on canvas
A Polyptych 48 x 60 in. (120 x 150 cm)
Total size 96 x 120 in. (240 x 300 cm)
“This painting is about embracing change and discomfort and knowing there is no going back; it is the commitment to the way forward. When you view the painting, you see the interlocking progressional chain. Being an artist comes with self-doubt, such as when trying to embrace new techniques and new influences. Everything comes with a little bit of struggle and doubt. When you learn that life is all about propelling forward, you will always be happy when a new change comes your way. You have to try to push aside the doubts that come in between. It’s also about the opportunities, like “what if” I did this, or this or that happened. “What If?”
The eyes are closed because they are having an internal conversation. They don’t need to use their eyes because they see with their minds, their thoughts, and their premonitions. It’s about “all-seeing” in a spiritual way.”—MM
“Seeing is believing” is about accountability and understanding who I am as an artist. It’s also about growing to know the power and the ability that I possess that makes me more vulnerable to my calling.” —Móyòsóré Martins
Seeing is Believing 2022
Oil, oil stick, pigments, and charcoal on canvas
72 x 55 in. (180 x 140 cm)
Private Collection, Los Angeles
African Village Series 2/3 Part Installation 2022
Oil, oil stick, pigments, and charcoal on canvas
72 x 63 in. (180 x 160 cm) left
72 x 146 in. (180 x 370 cm) middle
Igba Ajé (African Village Series) 2022
Oil, oil stick, pigments, and charcoal on canvas
69 x 50 in. (175 x 127 cm)
Alapkinshé (African Village Series) 2022
Oil, oil stick, pigments, and charcoal on canvas 70 x 50 in. (175 x 125 cm)
“Adura” is a painting about Martins’ thoughts on the contrast between spirituality and religion, organized religion versus individual practice. Each relates to the process of developing beliefs around the meaning of life and connection. The word “Adura,” which means prayer as a form of self-healing. This piece signifies one’s thinking outside of the metrics and understanding that some rules are created to place us contained. This confinement is man-made and at times hinders us so much that we lose sight of the beauty and vast knowledge of the universe.
Martins grew up exposed to many different religions, inspiring his work in various ways. The women in the painting are from a religious sect called the “Celestial Group.” The cat represents life and greed, while the figure in the middle is Martins’ subconscious. The watchman ties everyone to the painting, it is him, but it could be you. The watchman is a symbol that shows up in much of Martins’ artwork.
Oil, oil stick, pigments, and charcoal on canvas
36 x 72 in. (90 x 180 cm) each
72 x 72 in. (180 x 180 cm) total
ADURA 2022
Starving Artist 2022
Mixed media and collage on cardboard, mounted on stretcherbars
72 x 60 in. (180 x 150 cm)
Expansion
This series, entitled “Expansion,” reflects Martins’ feelings about his increased exposure and the expansion of both his internal and external worlds. The series starts with a fully collaged painting tightly detailed with scraps of paper, sketches, oil paint, and oil-stick on canvas with his thoughts and studies for the series he is embarking on. For Martins, this painting is the sketchbook to the series—full of notes, iconography, and his philosophical thoughts behind the idea of expansion in mathematical form. Each element is meaningful. In the paintings Expansion V and VI, he presents the man touchingly— surrounded by blossoming flowers—all growing and expanding. In Expansion VI and VII, Martins depicts the figures, maybe himself, diving into the water—catapulting themselves into the world, racing towards their goals. In Expansion IX and V the figures are looking outwards, towards the future. Throughout, mathematical equations indicate the formulas for this growth, the precise science behind 2+2=4. What you put in, is exactly what you get back—a theme consistent throughout his work.
Oil, oil stick, pigment, charcoal, collage on canvas
72 x 60 in. (180 x 150 cm)
Oil, oil stick, pigments, and charcoal on canvas
72 x 60 in. (180 x 150 cm)
Oil, oil stick, pigments, and charcoal on canvas
48 x 72 in. (120 x 180 cm) each
96 X 72 in. (240 x 180 cm) total
Expansion II 2022
Expansion III 2022
Oil, oil stick, pigments, and charcoal on canvas
48 x 72 in. (120 x 180 cm) each
96 x 72 in. (240 x 180 cm) total
V 2022
Oil, oil stick, pigments, and charcoal on canvas
48 x 60 in. (120 x 150 cm) each
96 x 60 in. (240 x 150 cm) total
Right:
Expansion IX, 2022
Oil, oil stick, pigments, and charcoal on canvas
48 x 60 in. (120 x 150 cm)
Expansion
Oil, oil stick, pigments, and charcoal on canvas
72 x 102 in. (180 x 260 cm)
Private Collection, Bologna
Oil, oil stick, pigments, and charcoal on canvas
72 x 95 in. (180 x 240 cm)
Private Collection France
2023 Crossing Art Gallery NYC | The Artist’s Journey
Artist Journey
2023
The theme of the exhibition is reflected by the monumental painting, “Artist Journey,” in which Moyo shows the progression of the artist’s journey. The figure on the left represents a young man just beginning to understand that he is an artist. The second figure from the left signifies the artist gaining confidence in himself—he recognizes that he has something valuable to offer. The third figure represents the artist receiving accolades for his work; he is beginning to be “seen” and is enjoying the rewards of his efforts. The final figure on the far right depicts the artist in his maturity and comfort zone. He is successful and confident; however, sits as a weight on his head as his success also carries the weight of responsibility.
Oil, oil stick, pigments, and charcoal on canvas
72 x 102 in. (180 x 260 cm)
Private Collection, Paris
Broken Limb 2023
Oil and oil stick on canvas, pigment, and graphite on canvas
72 x 60 in. (180 x 150 cm)
Nothing to Lose
Oil and oil stick on canvas, pigment, and graphite on canvas
72 x 60 in. (180 x 150 cm)
More than Me
2023
Oil and oil stick on canvas, pigment, and graphite on canvas 72 x 60 in. (180 x 150 cm)
Oil, oil stick, pigments, and charcoal on canvas
72 x 60 in. (180 x 150 cm)
Erin Aro (The Morning Laugh) 2022
Oil, oil stick, pigment, and charcoal on canvas 60 x 48 in. (150 x 120 cm)
“Seeing is believing. As an artist I have so many people who look to me. Not many are privileged to the life I have. Even back home I was always privileged. I never took that for granted. I saw poverty. People are really suffering. I have always been very grateful. All my achievements are for us all. Everyone is watching me. Sometimes it feels like a lot. Being an artist plays the added expectation for success, for fulfilling the path, for taking the journey.”
—Móyòsóré Martins
Study for Attestation (Vouch) 2022
Oil, oil stick, pigment, charcoal, and collage on canvas 72 x 60 in. (180 x 150 cm)
2023
13 x 6 x 6 in. (32.5 x 15 x 15 cm)
Idé (bondage)
Mixed media on concrete
Dues Dues 2023
Mixed media collage, oil, acrylic and graphite on cardboard 48 x 72 in. (120 x 180 cm)
13 x 11 in. (32.5 x 27.5 cm)
oil stick, pigment, graphite, and glaze on clay
8 x 7 in. (32 x 150 cm)
III and IV
oil stick, pigment, graphite, and glaze on clay
6 x 5 in. (15 x 12.5 cm)
Vessel I 2023
Oil, oil stick, pigment, graphite, and glaze on clay
Vessel II 2023
Oil,
Vessel
Oil,
Raw Thoughts, (Triptych)
oil stick, pigment, and charcoal on canvas, mounted on board 12 x 16 in. (30 x 40 cm) each
Oil,
Raw Thoughts, Studies V, 2023
Oil, oil stick, pigment, and charcoal on canvas
12 x 16 in. (30 x 40 cm)
Thoughts, Studies VI, 2023
Oil, oil stick, pigment, and charcoal on canvas
on board
14 x 18 in. (35 x 45 cm)
Thoughts, Studies IX, 2023
14 x 18 in. (35 x 45 cm)
mounted on board
Raw
mounted
Raw
Oil, oil stick, pigment, and charcoal on canvas mounted on board
Raw Thoughts, Studies VII, 2023
Oil, oil stick, pigment, and charcoal on canvas mounted on board
14 x 18 in. (35 x 45 cm)
Raw Thoughts, Studies VIII, 2023
Oil, oil stick, pigment, and charcoal on canvas mounted on board
14 x 18 in. (35 x 45 cm)
2023 | Galerie Tanit, Beirut
Now, They Know... Móyòsóré Martins
The following works are part of a series in which the artist transforms his “Watchman” character into a vibrant and colorful form, radiating joy. The character represents an evolution of the original Watchman, now infused with energy and life.
The eyes in the upper left corner symbolize the growing recognition of his work, as more people see and connect with it. The large mouth signifies conversations and dialogue surrounding his art.
Scribbles and scratches represent wishes and manifestations, echoing the sense of urgency and immediacy with phrases like “Now, now, now—the
A Little Bit of Hubris, 2023
Oil, oil stick, pigments, charcoal and canvas
175 x 174 cm (69 x 68.5 in.)
Right: Foreseeing, 2023
Oil, oil stick, pigments, charcoal on canvas
186.5 x 175 cm (73.5 x 69 in.)
time is now, it’s happening now.” The inclusion of “1986” marks the year of the artist’s birth, grounding the work in his personal narrative.
“The meaning of A Little Bit of Hubris, 2023, is a state of knowing myself. When you practice something every day you can nearly do it in your sleep. It’s about pride, but also it’s knowing and having the confidence in yourself, so it becomes part of you. When I was making these pieces, they were created with such ease and confidence. So I had a little bit of hubris.”
“Foreseeing, 2023 is about my knowing things before they happen. It’s when you have worked on yourself so much that you naturally see things before they happen. You are in a state where you receive frequencies more fluidly. The brightness and contrast between the colors is joyful. I’m feeling more fluid, using single strokes. It’s that state of comfort with the work. I’m in a trance. I don’t think, I just paint.”
A Little Bit of Hubris
Oil, oil stick, pigments, charcoal and canvas
72 x 60 in. (180 x 250 cm)
“The one who cheers and claps for everyone but never gets anything back.” —MM
Aletewo (The Cheerer)
2023
Oil, oil stick, pigments, graphite on canvas
72 x 64.5 in. (180 x 150 cm) Unstretched
70 x 62 in. (175 x 155 cm) Stretched
The “hungry cat” appears consistently throughout Móyòsóré’s work. It represents his own hunger as an artist. Hunger for success, hunger for growth. A hunger so strong that one feels the painting’s visceral energy. The eyes growing bigger and bigger as he feels his increased exposure.
— Michelle Edelman
Elebi (Hunger) 2023
Oil, oil stick, pigments, charcoal and canvas
Diptych 60 x 48 in. (150 x 120 cm) each
60 x 96 in. (150 x 240 cm)
“Móyòsóré Martins transforms the canvas into a mirror reflecting both the struggles and hopes of today’s young generation. Straddling the line between figuration and abstraction, Martins’ visual identity resonates with trends I have seen in contemporary Asian art. Like many young Asian artists, Martins explores his cultural heritage while pushing traditional boundaries. Each piece makes visible and palpable the intensity of the gestures that bring it to life: speed, tension, impulse, violence. His characters explode with grace, but this only makes them more free and dangerous.”
—Aurore Blanc, Art Historian and Curator
The meaning of title Enitan is someone who was born with a strong story. Someone who was never meant to be here, but came. Someone who they saw his stars before he was conceived. That’s who I am.
Enitan, 2023
Oil, oil stick, pigment, ink, graphite on canvas
72.5 x 59 in. (184 x 150 cm)
—Moyo
This painting depicts a tribal artifact which is used for protection. It’s intension is to repel evil and transform it into good.
Tribal artifact from artist’s studio, Bronx, NY.
Artifact/Protection, 2023
Oil, oil stick, pigments, charcoal on canvas
150 x 120 cm (60 x 48 in.)
Private Collection, New York
Oil and pigments on wood repurpased road sign
24 x 24 in. (60 x 60 cm)
Oil, oil stick, pigments, graphite on canvas
48 x 60 in. (120 x 150 cm)
2024 | Moyo Returns to Africa | Has Exhibitions in Geneva and Paris
Móyòsóré Martins, April 2024
Arms Around The Child Artists Artist Residency Senya Beraku, Ghana
In Spring of 2024, Móyòsóré Martins was invited by the Arms Around the Child Foundation to participate in an artist residency in Senya Beraku, Ghana. This residency marked a significant step in Martins’ journey of self-discovery and connection with others, as he returned to his university roots in Ghana. After spending nearly a decade in the U.S., Martins reflects on how his accomplishments and dedication have come full circle, allowing him to give back to the community where his artistic path first began.
Ghana IV—Filtration, 2024
Oil, oil stick, pigments, charcoal on canvas
79.5 X 93.3 in. (202 x 237 cm)
Collection of Dominique Megret, France
Next page:
Ghana II, 2024
Oil, oil stick, pigments, charcoal on canvas
79 X 99 in. (200.66 X 251.46 cm)
Private Collection, Spain
Ghana
Oil, oil stick, pigments, charcoal on canvas
78.64 X 96.75 in. (199.74 X 245.74 cm)
“The work I created was inspired by being present at the school in Ghana—in that very moment. Seeing things beyond myself. It’s about all the things the children lacked, like water, bedsheets, plates, cups, everything. The ability to step out of my own bubble and seeing what the kids need and that I could make a difference.”
— Moyo
Work in progress, Senja Beraku, Ghana.
“We are deeply grateful for the partnership with Móyòsóré Martins and the profound impact he created through the Arms Around The Child Artists Residency in Senya Beraku. Moyo not only shared his remarkable talents with the children but also spent valuable time creating his own work, which inspired everyone at the Christian Atsu Education Centre. His presence brought a unique energy to the school, where art became a powerful tool for the children to express themselves, build confidence, and connect with their community. The time he invested in engaging with the children has left a lasting impression, empowering them to believe in their potential and the value of their stories. Moyo’s contributions are a vital part of our mission to provide safety, education, and hope for the vulnerable children we serve. His residency has helped us continue to nurture a brighter future for the children and the entire community of Senya Beraku and the work of Arms Around The Child.”
— Ellie Milner
https://armsaroundthechild.org/
“Móyòsóré Martins embodies a rare and precious figure of the visual artist: the one making art as a vital necessity, and not a bohemian pastime. From Nigeria to Bronx, New York, where I met him. Móyòsóré’s paintings speak to us about the true way of the world: a world and an art made of migration, crossing the boundaries to exist, mixing cultures to invent a new one.
Recently back to Ghana, where he studied, Móyòsóré experienced the fascinating and sometimes challenging return to the original roots. His latest works, presented in Paris, testify to this exceptional journey across the two worlds of the artist, where art becomes the only way to create a symbiosis between them.
—Jerome Neutres, Curator (Past Director of the Réunion des Musées Nationaux- Grand Palais in Paris and President of the Musée du Luxembourg)
Follow The Light You Seek, 2023
Oil, oil stick, pigments, graphite on canvas
98.5 x 68 in. (250 x 172 cm)
Painting Details
“For me, this painting is very serious. While creating it, I was experiencing a deep and stressful moment. I was going through my naturalization test to obtain my US citizenship. I was struggling to retain information, because my mind was completely consumed by my work. This painting became my outlet. It reflects a sense of glory and success, symbolizing my newfound freedom. The yellow card represents my identity and signifies my life, reminding me that with every achievement there’s always more ahead. The figure of the man portrays vulnerability, showing that despite my success, there were obstacles—like traveling and being truly free. It’s the paradox of feeling free, yet not entirely liberated. The blues and blue-and-white stripes is the traditional royal attire, signifying rank and importance, indicating that I am not just an ordinary person, but someone of significance. For me it also symbolizes freedom.”—MM
AH! V, 2024 Oil, oil stick, pigments, graphite on canvas 92 x 79 in. (234.5 x 200.5 cm)
94 x 78 in. (239 x 199 cm) each
94 x 235 in. (239 x 597 cm) total
AH! I, Triptych 2023-2024
Oil, oil sticks, pigments, and graphite on canvas
Móyòsóré Martins delves into his personal and artistic evolution with his monumental triptych titled AH!. The title ends with a hard “h,” evoking a sense of shock, as in, “I can’t believe this is happening!” This work captures the internal struggle and conflict he faces, with each character in the painting representing a facet of himself. The symbolic act of self-destruction depicted reflects his shedding of an old identity, symbolizing a transformative journey of self-reinvention. For Moyo, this piece serves as his own version of Guernica—except the war he portrays is the battle within himself.
Study
Mixed media, collage mounted on canvas
72 x 60 in. (180 x 150 cm)
Oil, oil stick, pigments, charcoal on canvas
72 x 60 in. (180 x 150 cm)
Oil, oil sticks, pigments, and graphite on canvas
180 x 150 cm (72 x 60 in.)
pigment, charcoal on canvas
180 x 150 cm (72 x 60 in.)
2024
Oil, pigment, charcoal on canvas
180 x 150 cm (72 x 60 in.)
Aeon (Diptych)
Oil, oil stick, pigments, graphite on canvas
92 x 164 in. (200 x 410 cm)
Collection of Mazen Souid, Beirut
Definition of Aeon is “life,” “vital force” and “being,” “a period of time,” though it tended to be translated as “age” in the sense of “ages,” “timeless” or “for eternity.”
Untitled 2024
Oil, oil stick, pigments, charcoal and canvas
77 X 65 in. (195 X 165 cm) Each
308 X 260 in. (780 X 660 cm) Total
Lucid Dreams II, III, IV 2025
Oil, acrylic, aerosole, graphite on canvas
74 x 60 in. (188 x 152.4 cm) Each
Photographed in Moyo’s Bronx Studio, 2025
New Tablets (Made for Paris) 2024
Oil, oil stick, pigments, and charcoal on canvas, mounted on board 24 x 18 in. (61 x 46 cm) Each
Lucid Dreams I, III, IV 2025
Oil, acrylic, aerosole, graphite on canvas
74 x 60 in. (188 x 152.4 cm) Each
Dialogue (Diptych), 2025, Oil, acrylic, aerosole, graphite on canvas, 72 x 120 in. (182 x 304 cm)
Moyosore Martins
Lexicon of Iconography and Symbolism
The Watchman Character: In African culture, the watchman is oft depicted as a sculpture of a seated figure who observes, protects, and learns—an archetype deeply rooted in tradition and symbolism. For Moyo, this character is more than just a cultural motif; it is a recurring theme and a central figure that weaves through the narrative of his work. The watchman evolves alongside Moyo’s artistic journey, serving as both a literal and metaphorical representation of his personal growth and perspective. When Moyo first arrived in New York, he worked as a night watchman in the Bronx—a role that directly ties his life experience to the watchman character. Over time, as his work has evolved, the watchman has been reinterpreted and transformed, reflecting Moyo’s changing understanding of himself, his art, and his role as an observer, protector, and chronicler of life’s truths. This enduring theme underscores his connection to his African heritage while highlighting his ability to adapt and reinterpret traditional symbols in a contemporary context.
The Mouth: Represents the voices of people discussing him and his work.
The Eye: Symbolizes the all-seeing eye, imbued with spiritual significance.
The Yellow Googly Eyes: Represent people seeing his work and his increasing visibility. Over time, the eyes grow larger, signifying his growing recognition.
1986: His birth year, which he incorporates into his art to infuse his identity and presence.
The Ladder: Symbolizes the inescapable nature of life’s processes and growth.
The Cat: Represents resilience, echoing the idea of having nine lives to survive.
The Hungry Cat: Embodies a hunger for life and success. The sharper the teeth, the hungrier the cat.
The Pigeon: A symbol of freedom and independent thought.
The Cow: Represents the creation of life, which is cyclical. The cow consumes, digests and fertilize the new creation.
The Farm: A symbol of creation and sustenance.
The Stick Figure Inside an Animal: Reflects Moyo’s subconsciousness.
“Why?”: Encourages viewers to question and engage deeply with his work.
The House: Represents the comfort zone.
Flames Emerging from the House: A warning to get out of your comfort zone.
Roman Numerals: Symbolic of time.
OK Hand Sign: Represents limited time.
Light Blue Stripes on Clothing: Symbolize the higher caste of African seers, such as the Yoruba family Moyo comes from. The stripes also reflect life’s duality, representing two-way roads or paths.
“I believe there’s so much more to life than what meets the eye or what we hear. Symbols help us interpret what we see, and everyone has their own unique perspective. When you look at my pieces, you might see something completely different from what I see, and that’s okay. Even if you’ve never been to Africa or experienced my life, you’ll still feel a connection. I just want people to see the truth, to sense and experience it through my journey. It’s really as simple as that.”—MM
The artist’s perception of himself as the young Moyo, embodying a sense of lightheartedness, with inscriptions and expressions of his aspirations, with a triangle representing protection and his birth year inscribed in the lower right corner. The artwork offers a hopeful vision of the future.
