Creative Currents With Bemistudi0 
Issue 8.0  Mar. 2026
Interview Conducted by Olulana Mofiyinfoluwa & Chiagozie Mbuba
Design by Chiagozie Mbuba

Bemistudi0 exists at the intersection of what can be seen and what can only be felt. Trained in Law, International Relations, and Medical Law; disciplines built on precision, definition, and doctrine and she has turned her practice toward something altogether different: the moment before thought becomes language, before perception hardens into certainty. Her paintings don't explain the human condition; they dissolve it back into its raw materials. Vibrant figuration blurs into abstraction, figures emerge and recede, and somewhere in between, the viewer catches a glimpse of their own mind at work. This is not art made to be understood. It is art made to be experienced.

Q. Can you take us back to the moment you first realized visual art was something you wanted to pursue?

A. I don’t think it was a moment, more like an accumulation of moments. It was gradual and then it just was.

Q. Walk us through your creative process; from the first spark of an idea to the finished piece. What does that journey typically look like for you?

A. Different paintings come to me in different ways. It varies truly. Personally, I don’t over think the process. I think one of the most important elements of the creativity is time. Time to develop an idea until it takes life of its own.

Q. Your work often blends abstraction with human figures. How do you translate feelings or experiences into visual language?

A. I don’t think about translating anything when i paint. I think about what’s true and then paint that. Truth in conception, truth in emotion, truth in thought. Whatever kind of truth it is… that's what I paint

Q. What moulds perceived reality, and how can I paint that?" - is a deeply philosophical one. How did you arrive at this as the driving force behind your practice, and has your answer evolved over time?

A. I think my craft in itself has evolved over time. With my art, It’s always been important for me to paint beyond what meets the eye. I’m fascinated with the human mind and how we understand the world around us.

Q. Your work positions thought and perception as forces that intertwine and shape each other. When you're mid-painting, do you feel that process happening in real time or are you thinking through the work as you make it?

A. This is an interesting question. I believe the connection between thought and perception is impalpable. I don’t necessarily believe it’s something we can “feel” but it’s often observed in hindsight. Painting is a wonderful way to master the art of complex thinking. I couldn’t say that I think about one thing or the idea of trying to “ make art” when I paint… art isn’t about art. It’s about life, so naturally I have a series of thoughts.

Q.  The human figure appears throughout your paintings, yet you're drawing viewers toward something intangible; the parts of humanity that resist simple definition. How do you decide when a figure has said enough?

A. It’s a balancing act. I try not to get in the way of what’s happening on my canvas. I let the work be. It’s vital to allow the create process. 

Q. You hold degrees in Law international relations and Medical Law, disciplines that are deeply concerned with defining the human condition in precise terms. How does that training sit alongside a practice that deliberately explores what can't be defined?

A. It creates beautiful dimension. I understand thoughts have the capacity to influence doctrines while creating establishments. Thoughts form and shape our relations and theories. My work seeks to dissect the genesis of this, in a sense. I find that there's a lot of depth to it. In the most beautiful way.

Q. Your work has been described as sitting between vibrant figuration and abstraction. Is there a tension there you're working with, or is that interplay the point entirely?

A. Yeah I have deep appreciation for abstraction. I think it yields power that’s quite unique.

Q. Looking ahead, what new directions or ideas are you excited to explore in your artistic journey?

A. I guess we’ll see lol

After tracing her path from the courtrooms of theory to the quiet authority of the canvas, one thing becomes clear: Bemistudi0 is not chasing answers. She is sitting with the questions, and inviting you to do the same. The work is still unfolding; the next direction kept close, with a quiet confidence that what comes next will arrive exactly when it should. What molds perceived reality? Step inside the painting and find out.

Olulana Mofiyinfoluwa
For Solid Guy Magazine

 

CREATIVE CURRENTS WITH QUADRI MORIN (QUADMOR)

ISSUE 7.0  Feb. 2026

Interview Conducted By Olulana Mofiyinfoluwa

Designed by Chiagozie Mbuba

ORIGIN & CREATIVE IDENTITY 

Q. In a world where noise often overshadows intention, you choose focus. What influences the stories you tell visually? 

A. My visual stories are influenced by real-life experiences and moments of quiet reflection; the internal conversations people rarely express but constantly live with. I have experienced and observed the tension between who we are expected to be and who we are becoming. Decluttering has also become my way of resetting, so visually I am always asking; what truly matters here, and what can be stripped away without losing meaning? 

Q. How would you describe your creative journey so far, and what experiences have shaped your voice as a digital artist? 

A. My creative journey started as a form of expression for my inner dialogues. These dialogues push me to listen deeply and observe behaviors and patterns around me, while trying to understand the context behind them. Over time, art became the space where I could explore these questions without needing clear answers. Living and working across different creative disciplines has also helped shape a voice that is both reflective and intentional. 

RESTACKING THE ODDS – THE CONCEPT 

Q. Why was this the right time to tell this story through an exhibition? 

A. Honestly, the right time to start this conversation was many years ago. But for this exhibition, it felt right because I realized that self-empowerment is not something that is done and dusted; it is something we return to every day. I wanted people to recognize and appreciate that reality in their own lives. Many people are silently renegotiating their lives; redefining success, healing from setbacks, and questioning narratives they once accepted. My exhibition allows for pause. Unlike fast digital consumption, it invites people to stand with discomfort and possibility. Restacking The Odds needed physical space because the conversation it starts is internal, slow, and reflective. 

Q. What emotional or psychological states were you exploring while creating these pieces? 

A. I was exploring uncertainty, self-doubt, and quiet determination. There was a recurring tension between exhaustion and hope; between destinations and starting points. Many of the pieces emerged from moments where I felt stuck, yet aware that staying still was also a choice. Psychologically, the work reflects the process of reframing situations as motivation rather than failure.

 

Q. Walk us through your creative process; from idea to final piece.
A. The process usually begins visually. Emotions create a mental image in my head, and I reflect on the question that image might be answering. I sketch loosely and sit with the idea until it fully forms. From there, I experiment visually with characters, line work, and color. The final stage is about restraint; knowing when to stop, when the piece has said enough without over-explaining itself. 

SELF-EMPOWERMENT & RESILIENCE 

Q. Have you had moments where you had to “restack the odds” in your own life? 

A. Oh yes, many times; often in subtle ways rather than dramatic ones. Restacking the odds has meant choosing what I believe in over what I was taught to believe, redefining success on my own terms, and continuing to show up creatively even when outcomes were uncertain. It is less about winning and more about showing up honestly. 

Q. What does “reclaiming your story” look like in today’s world? 

A. Reclaiming your story today means disengaging from constant comparison and external metrics. It means deciding who gets to define your worth. In a world that rewards performance, reclaiming your story is choosing presence, self-awareness, and authorship over approval. 

DESIGN, STORYTELLING & PROCESS 

Q. Are there specific visual elements or motifs we’ll see repeatedly in this exhibition? 

A. Yes. You will see repetition through fragmented forms, and occasionally polka dot motifs. These elements reflect disruption, emotion, and movement. Nothing is accidental; each repetition reinforces the idea that growth is not linear, but iterative. 

IDENTITY & EMOTIONAL TRUTH 

Q. What conversations do you hope Restacking The Odds sparks around self-awareness and inner growth? 

A. I hope it sparks conversations about personal accountability without self-blame. About recognizing patterns, unlearning inherited narratives, and creating space for emotional honesty. The work invites viewers to ask themselves; where am I still playing by rules that no longer serve me?

 

Q. Is there a particular piece in the exhibition that holds the most personal meaning for you? 

A. Yes. There is one piece that emerged during a period of deep uncertainty. It represents a turning point; not because everything became clear, but because I chose to continue without clarity. That decision changed how I approach both art and life. 

THE EXPERIENCE 

Q. What should visitors expect to feel when they walk into the exhibition space? 

A. Visitors should expect a sense of stillness, reflection, and quiet confrontation. The space is designed to slow you down. Ideally, people leave feeling seen rather than instructed; challenged but not judged. 

IMPACT & LEGACY 

Q. What does success look like for you beyond numbers and recognition? 

A. Success looks like resonance. When someone recognizes themselves in the work and feels less alone in their internal struggles. It is about depth over reach; impact over applause.

 

Q. How do you hope your art empowers others navigating their identity? 

A. I hope the work reminds people that identity is not fixed, except for biological identity. It is permissible to evolve, to question, and to start again. Empowerment comes from realizing you are allowed to choose to redefine yourself at any point.

 

Q. What message do you want people to leave with after experiencing your work? 

A. That setbacks are not verdicts and Life is always about choosing. Not choosing to take control of your life and destiny is also a choice to not be in control of your life and destiny. That sort of awareness is power. And that restacking the odds often begins with an internal decision long before any external change appears.

LOOKING FORWARD 

Q. How has Restacking The Odds changed you as an artist and as a person?

A. It has made me more honest. I am less concerned with perfection and more committed to truth and expression. As a person, it has reinforced the importance of patience; trusting the process both creatively and personally. 

Q. Where do you see your creative journey evolving in the next few years? 

A. I see my practice expanding across mediums; combining art, design, and storytelling in more immersive ways. Restacking The Odds also has a documentary coming up. This came from questions that could not sit on the wall with the art; questions that needed real people and real stories to make a deeper impact. I am interested in building experiences that live beyond galleries; spaces where reflection, community, and growth intersect.

Big Banju: Go Big or Go Home

Music And Moments with Big Banju

Issue 13.0 (Sep. 2025)

Interview Conducted by Olulana Mofiyinfoluwa

Design by Chiagozie Mbuba

Q: You were born in Akwa Ibom, grew up in Ondo, and now you’re in Lagos. How have these different environments shaped your music?

Big Banju: The music scene in Ondo is very different from Lagos. Lagos is the best place to make music; it pushes you to adapt. Before I moved here, my sound was different. But Lagos changed my style and I like the direction it’s taken.

Q: You’re quiet offstage but your lyrics are powerful. Who influenced your sound as you were coming up and any chance of a collaboration with them?

Big Banju: The big names; Olamide, Wizkid, and Davido. It will happen definitely. Maybe not right now, but it will.

Q: I’d say ADA really put you in the spotlight. What’s the story behind creating that song and why did you feel it was the right way to introduce yourself as an artist?

Big Banju: I record music based on real experiences, not just random ideas. Honestly, I went through a heartbreak, that’s what inspired ADA. I wanted people to first hear the truth of what I was going through.

Q: Before the EP dropped, while you were making music, when did you realize you weren’t just making songs you were actually preserving culture?

Big Banju: After I released ADA, I saw how people responded even artists like M.I, Blaqbonez and Zlatan commented. That made me feel like, “Okay, I’m not small. I’m making an impact”. That’s when I decided to drop the Who Is Big Banju EP.

                                                 

Q: What’s the story behind creating “Who Is Big Banju” and what did you want people to discover while listening to it?

Big Banju: When I released ADA, people kept commenting, “Who is Big Banju?”
So I decided it was time to show them that Big Banju isn’t small at all. That’s why I dropped the EP to let people know exactly who I am and what I stand for.

Q: How did the name Big Banju itself come about?

Big Banju's Manager: The industry is crowded, so we wanted something that stood out. His name was already Banju, and we thought, “That’s simple but how do we make it bigger?”
We said, “Go big or go home.” So we added “Big” to the name. It’s a mindset: in everything; music videos, collaborations, marketing; we go big or we don’t bother.

Q: Tell me about the creative process behind the seven songs on the EP. What’s the theme?

Big Banju: If you listen from track one to seven; Bless Me to Taboo you’ll notice different moods. Some songs came together like freestyles.
One day I was in the studio with Cater and we just started vibing no lyrics written down, just energy.
But Bless Me is different; I started writing it back in 2018. Every line is intentional. For me, once you’re in the studio you should create something meaningful that people will want to listen to.

Q: The EP features two notable collaborations. Let’s start with In Love With You. How did that track happen?

Big Banju: I had already recorded the song. Then Zlatan commented on one of my posts, something like, “Big Banju, what’s happening?”
My label boss asked me which artist I’d love to feature, and I said Zlatan. I thought he was joking when he said, “No problem.”
The next day he told me, “You and Zlatan are recording together.”
I went to Zlatan’s studio, played him my songs and he said, “This In Love With You is the one.” We replaced my second verse with his.

Q: Those hyper-aggressive ads were my first introduction to you. I remember Zlatan saying, “Why would you spend 400 million naira on ads?” Was that actually real? Whether it was or not, the rollout was perfect. After the buzz everyone kept asking, “Who is Big Banju?” and then you dropped the EP. I think it was genius.

Big Banju: The credit really goes to my record label Explorer Music Group. They were the brains behind that entire rollout.

Q: You’re known to be very reserved. Even though your name is out there and you’re in the spotlight, you’re a very private person. How do you balance that quiet personality with the demands of being a public figure?

Big Banju: Growing up, I mostly stayed with my dad and I wasn’t the type to make a lot of friends. I got used to being on my own.
But even if you’re naturally quiet, when it comes to business you have to show up. I take my work seriously, I’m focused and I don’t play when it comes to business.

Q: In an earlier interview you said, “Listen to my lyrics, not my personality.” What do you mean by that?

Big Banju: When you go to church, you’re there to worship God, not people.
It’s the same with music: don’t judge the artist, just listen to the music. Don’t listen because you like or dislike me; listen because of what the music says.

Q: Have you ever performed any of your songs live?

Big Banju: Yes, I have.

Q: What was that experience like? What moment on stage has stayed with you the most?

Big Banju: There’s nothing like performing and having your guys show up to support you. That kind of energy, I don’t take it for granted.

Q: What’s been your biggest challenge breaking into the industry?

Big Banju: I come from a family where nobody is in the public eye.
Even as a kid, I told myself: when I grow up, I want to be a musician, an artist, to be famous. I prayed for it.
My biggest challenge was simply making sure I broke into the industry because I knew if I didn’t, I’d regret it.

Q: If you could lock in a dream collaboration, who would it be and what kind of record would you want to make?

Big Banju: For now I can’t name anyone specific. I just pray that whenever the opportunity comes and it’s with a legend, I’ll embrace it.

Q: Where do you see Big Banju in the next five years, beyond just releasing singles?

Big Banju: I want to be sitting at the same table as people like Dangote and Elon Musk right there with them.


Big Banju: Let me ask you a question. When you call me “Big Banju,” how does it make you feel?

Interviewer: It feels like I’m speaking to someone truly big. Saying “Big Banju” feels like calling Wizkid “Big Wiz.”

Creative Currents With Efue 

Issue 4.0 Sep. 2025

Interview conducted by Olulana Mofiyinfoluwa 

Design: Chiagozie Mbuba

Q. ​For those meeting you for the first time, who is Efue; both as an artist and as a person?

 A. As a person, I am an introvert who enjoys her own company, loves to read books, watch anime, and write. I generally prefer to be an observer rather than the subject of observation. I am also always full of questions and emotions, and this leads me to who I am as an artist. I like to write about my personal experiences and feelings. Since I am often very emotional, I sometimes find it difficult to express myself, but turning what I feel and what I experience into a song helps me. Efue the artist is a reflection of all the thoughts I do not say out loud.

 

 Q. Can you take us back to your earliest memory of connecting with music? When did you realise this was more than just a hobby?

 

A. I can’t say I can pinpoint a specific time period when I decided to take music seriously. I’ve always loved music, I grew up with music lovers. My mother said she named me praise because she knew I was going to sing. I grew up a church kid and I was in the children’s choir, so it’s something I’ve always been surrounded by, loved and wanted to do. 

​

Q. Your music blends Afro-fusion with elements that feel soulful and alternative. How would you personally describe your sound?

 

A. I think I’m in a very experimental stage right now.  I’m trying to slowly push my limits and see how many directions I can take my sound. I don’t have a name for it yet because I don’t want to put myself in a box. 

Q. What does a typical studio session look like for you; chaotic experimentation or intentional structure?

 

A. My studio sessions largely depend on what the mood is like on that particular day. Sometimes I hear a beat and start writing immediately. Record and finish a song. Sometimes, I spend hours, days, weeks, months on one beat, writing and rewriting until I’m satisfied. I don’t particularly have a set process. It can be anything.

 

Q. Memorabilia marks a huge milestone in your journey. What story does this project tell about where you are in life?

 

A. 2024 was one of the most trying years of my adult life and every song on memorabilia except for HISTORY, was written in 2024. I was alone with my thoughts most of the time and had a lot going on. I wasn’t very willing to speak to anyone about it though so I wrote a lot of songs that helped me make sense of it and some of these songs made it to MEMORABILIA. HISTORY was also written at a point like that, but in 2025. I think putting out this project has given me a sense of learning, growth, realisation and moving on.

 

Q. How did you approach balancing vulnerability and entertainment on this debut EP?

 

A. I take inspiration from personal life experiences a lot so vulnerability is inevitable at this point. But on the other hand, I love a good melody and something that makes you want to move your body. Having  all these elements in mind when I write a song helps me keep things in check so it isn’t too much of this or too little of that.

 

Q. Was there a particular track on Memorabilia that pushed you outside of your comfort zone?

 

A. No, I don't think so, or I wouldn’t put it that way. There was a lot of experimenting, trial and error with the songs so I can’t say that I was even in a comfort zone with any of them. At the end of the day, I enjoyed making them and I am extremely happy with the results.

 

Q. Who are some of your biggest musical influences?

 

Brandy, Jon Bellion, Wizkid, Sade

 

Q. If you could create your dream collaboration tomorrow, who would be on that track and why?

 

A. My dream collab would be with Jon Bellion. His music carried me through some of my confusing times as a teenager and pointed me in a direction that I liked, songwriting-wise, so being able to share a song would feel like coming full circle.

 

Q. How do you see your sound evolving in the next few years?

 

A. I want to keep exploring new things and experimenting with my music, allowing my sound to grow and stretch in as many directions as possible, constantly try out different ideas, styles, and approaches. I want to keep challenging myself and pushing the boundaries of what I can create, just to see how far it can go and how good it can truly become.

 For over a decade, Masterkraft has been the quiet architect behind some of the most defining sounds in Nigerian music. From street anthems that shook the clubs to timeless records that bridged Afrobeats with global audiences, his fingerprints are everywhere—yet his humility keeps him grounded. A producer, songwriter, and sonic innovator, Masterkraft embodies both consistency and evolution in an industry that never stops moving.

In this exclusive conversation with Solid Guy Magazine, we sit with the hitmaker to explore the philosophies that have kept him relevant, the challenges he has faced and conquered, and what lies ahead as he continues to shape the future of African music.

1. What first sparked your interest in music and how did you evolve into the multifaceted artist you are today?

Masterkraft: My interest in music started from a young age. I learnt how to play the keyboard and eventually played in church. I’d say it was God’s plan for me to do music. My first production gig paid me ₦500 — before that, the most I’d ever made was maybe ₦15 from selling a bag of pure water. That day I told myself, “If making beats can earn me this much, I’m sticking to this.” Over time, I spent more hours in the studio, learning and absorbing as much as I could. I just kept doing my thing, and the rest is history.

2. When you start a track, what’s your typical creative process? How do you know when a track is finished?

Masterkraft: Honestly, it depends on the mood and the setting. I like to connect with whoever I’m working with — talk, laugh, catch a vibe — because music is a conversation before it becomes sound. There’s no formula, just pure connection and creativity.

I know a track is done when there’s nothing else to add. You just feel it.

3. You’ve blended genres like highlife, Amapiano, jazz, soul, gospel, and Afrobeats. How do you balance traditional elements with innovation?

Masterkraft: The balance comes from making sure the tradition isn’t lost, but dressing it in a way people can vibe to. That’s why when you hear a “Masterkraft” record, it feels familiar yet fresh. Tradition is the root, innovation is the branch, and the sound is the fruit.

4. Your most recent album, Light, reflects both personal and musical growth. What messages did you aim to convey?

Masterkraft: Light was a personal project. It’s faith-conscious — my journey of grace, faith, and patience. I named it Light because of my life journey and how my mentality has shaped what I’ve been able to overcome. I wanted to turn that into songs, something I could pass on.

The project is about exposing truth: showing people that what we’re searching for is within us. If you’re rooted in God, you’ll find your purpose. We just need His light to guide our path.

5. Which track on Light holds the most emotional resonance for you, and why?

Masterkraft: Definitely “Ezebube.” That day in the studio, we were talking about how it doesn’t make sense that God, in all His almighty power, would come down to die and save us. After that conversation, we recorded the song — and everybody started crying. It was so emotional.

6. How did the creative process behind Light differ from your previous projects?

Masterkraft: Light was completely different because it wasn’t just about making music — it was about finding myself and deepening my relationship with God.

In terms of technique, I used a lot more live instrumentation to capture that raw gospel energy. Everything was intentional; I wanted each sound to lift the listener’s spirit. For collaborations, I worked with faith-driven artists who shared the same fire for God.

7. You’ve stayed relevant in Nigeria’s music scene for over a decade. What philosophies keep you grounded and evolving?

Masterkraft: Talent will open doors for you, but character keeps you in the room. For me, it’s about constantly learning, staying humble enough to adapt, and never losing sight of why I make music. Trends come and go, but if you stay true to your purpose, keep refining your craft, and surround yourself with the right people, you’ll evolve without losing your identity.

8. Looking back, what stands out as your most memorable moment?

Masterkraft: I have so many, but one that stands out is the day I planned to hawk groundnuts. It rained, so I stayed home. That day, I went to a guy in my area who I admired because he played the keyboard. I asked him to teach me, and he gave me the basics. From there, I started playing in church. Looking back, that rainy day changed my life.

9. As we move through 2025, what should fans expect from you?

Masterkraft: I’m working on a programme for young people in music. Beyond teaching them how to make music, I want to help build their character. The industry is tough — talent alone isn’t enough. If they can combine skill, wisdom, and the right mindset, they’ll thrive, not just survive. I want to help them find their unique sound, discover their “why,” and give them the tools to stay relevant without losing themselves.