Mentorship as a Medium: Kikelomo Solomon’s Strategies in Nurturing the Next Generation of Artists

The road to success may be a slippery one, but Kikelomo Ayeni-Solomon has a firm grip of it, forging ahead with precision one step at a time. As a UK-based visual artist, curator, and cultural entrepreneur, she is gradually charting a path in Nigeria and the United Kingdom, with plans to expand to the US […]

The road to success may be a slippery one, but Kikelomo Ayeni-Solomon has a firm grip of it, forging ahead with precision one step at a time. As a UK-based visual artist, curator, and cultural entrepreneur, she is gradually charting a path in Nigeria and the United Kingdom, with plans to expand to the US soon. In this conversation, she underscores the need for collaboration and building community, not just careers, as she talks about protégés, how knowledge transfer and personal investment in young practitioners are expanding Nigeria’s arts ecosystem.

 

 

Q: You’ve built a reputation not just as a visual artist and curator, but also as a mentor. What sparked your commitment to guiding younger artists, and how do you balance that with your own practice?
My commitment to mentorship was born out of my own journey. I know how isolating and uncertain it can feel to navigate the art world without guidance, especially as a young female photographer in Nigeria. My career was kick-started by Mr Seun Akisanmi, who not only trained me in photography for free but also mentored me as I evolved in the art space. As my mentor, he provided me with the opportunity to learn photography and work with the company’s paid clients. I was given the platform to teach photography and related topics at Elophotos Academy and later at the Nigeria Photography Expo and Conference. I have benefited from people who generously shared their knowledge, and I have made a promise to do the same. Balancing mentorship with my personal practice is not always easy, but I see them as interwoven: guiding others constantly challenges me to refine my own ideas, expand my practice, and add value to other people.

 

Q: Can you share a story from a workshop or mentorship moment that really showed you the impact of investing in the next generation of artists?
I remember a young lady I was mentoring sometime in 2017. I will refer to her as Ruby. She loved photography, but needed a job to sustain herself. I did not need an additional staff then, but I saw the passion in her like my mentor saw in me. I created a role for her so she could have a reason to learn the photography she loves and also have stipends to meet her daily needs. In October 2018, just over a year later, Ruby was a professional photographer and was teaching new interns. She went to the university empowered with a career that would fund her through school. Watching that cycle of empowerment from mentee to mentor was a reminder that mentorship multiplies impact far beyond what we initially see.

Q: Many of your protégés are now launching their own projects and exhibitions. How do you approach nurturing their individuality while also giving them structure and direction?
Each artist has a unique voice, and my role is to help them sharpen it, not dilute it. I don’t believe in imposing rigid frameworks because that can easily stifle creativity. Instead, I focus on listening deeply to what they are trying to express and guiding them toward clarity in both their concept and execution. Sometimes that means challenging them with difficult questions that help refine their vision; other times it means stepping back so they can learn through experimentation.

Structure, for me, is never about enforcing a single formula. It comes through mentorship, sharing insights on how to organize a project, manage collaborations, or prepare for an exhibition, while leaving enough room for them to make their own decisions. I see myself as a sounding board. My advice and support are there when they need it, but I am careful not to overshadow their creative impulses. The goal is to give them confidence in their voice, along with the professional tools to translate that voice into impactful work.

 

Q: In both Nigeria and the UK, you’ve seen how institutional support shapes artistic growth. What differences have you observed, and how do you adapt your approach when mentoring across these contexts?

Having worked extensively in both Nigeria and the UK, I’ve seen firsthand how the level and structure of institutional support deeply influence how artists grow and thrive. In Nigeria, there is an abundance of raw talent, passion, and ingenuity. Artists are resourceful by necessity — often working with limited funding, few formal platforms, and minimal governmental or structural support. What they lack in resources, they make up for in resilience, improvisation, and community-driven collaboration. The creative scene there is vibrant, but survival is a constant hustle.

UK has an established arts infrastructure. There are formal grants, public funding bodies, artist residencies, arts councils, and structured educational and curatorial opportunities. While competition still exists, there’s a clearer pathway for artists to access support, build careers, and engage with international audiences. But with that structure comes the need to understand how to navigate bureaucracy, write proposals, build networks, and align artistic vision with institutional goals.

So, when I mentor across both contexts, I adapt my approach based on the realities of the environment.

For instance, in Nigeria, I focus on building creative entrepreneurship skills, encouraging collaboration, and fostering a mindset of innovation through constraints. I also emphasize peer-to-peer learning, local networking, and how to document and present one’s work in ways that appeal both locally and internationally. I spend time demystifying global platforms so that artists feel confident reaching beyond their immediate geography.

In the UK, my mentoring leans more toward helping artists understand how to access and leverage the systems that exist — how to write strong proposals, identify the right opportunities, build sustainable practices, and position themselves within broader art conversations. I also talk a lot about identity and representation — how to hold on to your authentic voice while working within institutions that may not always fully understand or reflect your background.

My goal in both places is to empower artists to build sustainable, meaningful careers that reflect who they are — whether they’re operating from the grassroots or navigating international systems. I believe both contexts have something valuable to teach, and I try to bridge those lessons wherever I can.

 

Q: Knowledge transfer is often informal in the creative industries. How do you make sure that the practical lessons, like building sustainable careers or managing creative businesses, remain part of your guidance?

In my mentoring relationships, I’m very intentional about going beyond technique or aesthetics. We don’t only talk about creative expression — we discuss contracts, pricing structures, branding, audience development, and managing income as a creative. These are vital tools for survival and sustainability in this industry.

I share not just what worked for me but also what didn’t — the mistakes I made and the lessons they taught me. That level of transparency helps demystify the journey. I want young creatives to understand that success isn’t just about talent; it’s about building systems that allow that talent to thrive over time. Whether it’s how to negotiate licensing rights or navigate burnout, I ensure that these real-world lessons are embedded in our conversations, workshops, and portfolio reviews. It’s about equipping them to lead balanced, informed, and empowered creative lives.

 

Q: Beyond technical skills in photography or arts programming, what personal values or philosophies do you try to instill in young practitioners?

I always emphasize collaboration and community. In the arts, it’s easy to get caught up in individual ambition, but I remind young creatives that no one builds a legacy alone. I encourage them to cultivate generosity, share knowledge, and lift others up as they rise.

Integrity is another non-negotiable for me. In our industry, your name is your currency. I often tell my mentees, “A good name is better than riches.” Your reputation can open doors that talent alone cannot. That’s why I stress doing honest work, treating people fairly, and honoring your commitments.

Finally, I teach the importance of purpose. Art isn’t just about beauty — it’s a powerful tool for social commentary, healing, and transformation. I urge young artists to think beyond trends and build practices that reflect their truth and impact the world around them.

 

Q: Looking ahead, how do you see the ripple effects of your teaching and mentoring shaping Nigeria’s arts ecosystem over the next decade?

Over the next 10 years, I believe Nigeria will see a surge in artist-led platforms, collectives, and cultural initiatives that shift the narrative of African art globally. Many of the creatives I’ve mentored are already stepping into leadership roles — curating their own shows, launching galleries, founding creative businesses, and mentoring others in turn.

This multiplier effect is what excites me. We are not just preparing artists to survive; we’re nurturing cultural entrepreneurs and changemakers who understand the intersection of art, business, and impact. As more artists find their voice and confidence, we’ll see stronger representation of African stories — not just in foreign institutions, but on our own terms.

My dream is that Nigerian artists won’t only be invited to the global table — they’ll be designing the tables, building the rooms, and inviting others in.

 

Q: Is there anything else you would like to add?

Yes. I would like to say that mentorship is a two-way street. While I guide and support the younger generation, I also learn from them — their fearlessness, their innovation, their refusal to accept outdated norms.

They constantly challenge me to evolve and remain relevant. It’s a beautiful exchange that keeps the creative process alive and dynamic. Mentorship, for me, is not just about legacy — it’s about staying connected to the pulse of change.

So while I hope I’m shaping the next generation, I know they’re also shaping me — and by extension, shaping the future of the arts in ways we can’t yet imagine.