Today, we put the spotlight on photographer & filmmaker Adedolapo Boluwatife.
Subsign: Hello, Adedolapo! We’d like to start by asking you to tell us a few things about yourself.
Adedolapo: I am Adedolapo Boluwatife, a photographer and filmmaker from Nigeria. Born in the Ojodu area of Lagos, I studied English and Literary Studies at Obafemi Awolowo University, Ile-Ife, and currently live in Ogun State. My photography is a reflection of myself and my perspective on the realities around me, exploring themes of culture and identity, nature, mental health, and broader social issues. I often blend conceptual and documentary approaches to bring these narratives to life.
Subsign: What was your childhood like? Do you think your childhood experiences have influenced your photographic vision?
Adedolapo: My childhood was that of a typical Nigerian lower-middle-class family. Both my parents were civil servants, they were teachers and both taught English. I was a very reserved and introverted kid, and my mom, though a disciplinarian, had a subtle and reasonable approach to discipline. Life as a child revolved around home, church, school, and books.
My dad had a deep love for books, especially history, which meant our house was filled with first-edition history, literature, and geography books. I was obsessed with the photographs in these textbooks. I loved how I could see societies from the past, as well as places, people, and cultures I had no idea existed, also due to my love for old stuff. Those images fascinated me, they transported me to different worlds and fueled my curiosity about life beyond my immediate surroundings.
My mom had three boys, and we weren’t allowed to step outside much, except for my elder brother, who was the rebel. Most of our time was spent indoors, reading or watching TV. We were a small, close-knit family, though we occasionally had extended relatives live with us. But even then, I found comfort in carving out my own space within our home, disappearing into books, acting one-man plays or simply existing in my own thoughts. Solitude was never something I had to seek, it was always present, like an old friend, and I grew to cherish it.
My childhood played a huge role in shaping my photography. Being introverted, I didn’t like to speak much, so I engaged in things that gave me a chance to express myself. I had an older friend, Caleb, who made sketches and calligraphy, and I used to recreate his works. It was fun and gave me a sense of relevance. I also wrote a lot, thanks to the books in my dad’s collection. I loved African literature; Peter Abrahams, T.M. Aluko, Wole Soyinka, Chinua Achebe, Ngũgĩ wa Thiong’o. We also had some early editions of Shakespeare, T.S. Eliot, and other non-African literature from different eras. I remember many of these books being in hardcover, their pages slightly yellowed, and their sturdy spines. I remember how much I loved to sniff them, the scent of old books was, and still is, something of a quiet refuge for me. I loved books with illustrations; my mom would tell me how, as a child, I’d make up entire stories just by looking at the pictures, long before I could read. I was drawn to the idea that one could communicate so much without speaking.
I loved comic books, I loved supa Strikas, I loved Archie, my elder brother was a big fan, he bought the books, and I got to read them. Inspired by comics, I started drawing my own and even writing plays at a very young age.
My dad had a small 110 pocket camera, which he used to take our birthday pictures. My brother and I would play around with it sometimes, and even though we wasted film, my dad never complained; he’d print all our ‘bad’ photos. I think my dad and mom’s personalities complement each other perfectly, and this reflected in how we were raised.
Looking back, I believe my comfort with silence, shaped by my upbringing, made me embrace photography as my voice. In many ways, photography mirrors my love for solitude, it allows me to observe without intrusion, to exist in a space without having to fill it with noise. I’m grateful that I can now use it to express my thoughts on bigger issues and bring attention to different realities, without limitations.
Subsign: What did you want to be as a grown up?
Adedolapo: This question is so funny because it reminds me of how my curiosity and constant desire to pick up new things made me switch career aspirations so many times while growing up.
At first, I wanted to be a banker because I thought they handled all the money and must have loads of it. Then I wanted to become a psychologist, mainly because I knew when my mom did her master’s in personnel psychology at the University of Ibadan. As a very young child, I used to study with her, I’d help her cross-check while she’s trying to memorize. I realized I had a natural instinct for being psychologist. I was very observant of people’s behaviors, and I genuinely enjoyed trying to understand them.
My most recent aspiration before photography was to become a writer. This was during my teenage years, and it even influenced my decision to study English and Literature at university. Writing was my first real attempt at expressing myself, and it helped shape my storytelling approach in photography today.
Subsign: What does your workstation look like?
Adedolapo: Not big, but spacious. I love space. I currently live in a small one-room apartment with a balcony that borders a farm. Even with the limited space, I’ve managed to organize it in a way that feels open and comfortable.
Most of my shoots happen outdoors at the farm, where the abundance of plants creates a beautiful natural backdrop. When I shoot indoors, I still rely on natural light streaming in through the windows. Inside, I have a few plants, a couple of old books, and my work desk, where my devices are arranged. Above my desk is a large painting by my friend Sam Shoneyin, who also works with used plastics. I also have a vinyl player and, of course, Kylian; the family dog, who keeps me company.
My room is right beside the farm, my windows are like a screen of moving greens. I constantly hear the rustling of trees, birds conversing, and squirrels squeaking. The farm has a lot of almond and palm trees, and a small stream runs through it, providing a natural habitat for the squirrels. It’s a peaceful and inspiring environment one that naturally feeds into my work.
Subsign: Do you have a work style? How would you describe it?
Adedolapo: I wouldn’t say I have a definite work style; it’s more of a fluid process that blends into my daily life. I work in two ways.
First, I make random photographs that serve as a visual journal. These are unplanned shoots that keep me active and help me avoid rustiness. Then, for actual projects, my process is more structured. It starts with research; reading, surfing the internet, and doing some footwork. Then I move on to citing and listing of symbols and items that relates to whatever story I wish to tell. I love metaphors and symbolism, and my inspiration comes from everything around me, but mostly from my past and present experiences. When an idea comes to mind, I construct it mentally. Sometimes, I seek the help of my friend Yemi to create visual sketches of what I envision, which makes the shooting process easier. It’s a beautiful process, one that allows me to translate thoughts into tangible visuals.
When I’m not shooting, I’m curating, researching, and looking for open calls to submit to. Although I’m a bit of a lazy artist, but my work is a part of my lifestyle, my everyday activity is me working, I’m learning and drawing inspiration around me, It’s part of the work process. So, if I had to define my work style, I’d simply say, it’s me living.
Subsign: Where do you find your inspiration?
Adedolapo: Everywhere. Everything. My eyes are God’s greatest gift to me! Inspiration often starts as a personal experience and then evolves into something I want to share. My own experiences are my primary source, but books, movies, music, and my community also play a huge role.
Lately, I’ve realized how much my creative mind has been enriched by consuming the works of other artists, especially African artists. I love the works of Omar Victor Diop and Fabrice Monteiro. Among my peers, I admire Adeolu Osibodu for his sense of mystery and Rachel Seidu for her mastery of natural lighting.
My earliest influences were avant-garde artists like Ansel Adams, Man Ray, and Alfred Stieglitz. I love Stieglitz’s photographs of Georgia O’Keeffe’s hands. His work has also deeply influenced how I document my partner, family and friends. I also admire how he never limited himself to one genre or theme, which is something I embrace in my own work. The mind is a whole universe of thoughts and ideas, and placing limits on oneself is a sin.
Beyond photography, I’ve always been drawn to old things; vintage photographs, classic films, and antique items. There’s something about them that carries a certain mood of timelessness and peace, almost like they exist outside of time. This love for nostalgia influences my creative choices; I often try to create work that feels vintage, not just in aesthetics but in emotion, evoking a sense of history, memory, and stillness.
Cinema plays a huge role in my inspiration, particularly the works of filmmakers who understood atmosphere, composition, and visual storytelling in a profound way. Directors like Yasujirō Ozu, Abbas Kiarostami, Alfred Hitchcock, Alejandro Jodorowsky recently, Martin Scorsese, and Andrei Tarkovsky have all shaped how I think about framing, light, and emotion. Tarkovsky’s dreamlike slowness, Ozu’s quiet and deliberate compositions, and Kiarostami’s ability to make landscapes feel like characters in a story have all influenced my approach to photography.
More contemporary photographers like Jack Davison, Viviane Sassen, and Rotimi Fani-Kayode also inspire me. I draw a lot from films, particularly in terms of composition, themes, and techniques. Everything around me has the potential to spark something new, it’s just about being present enough to see it.
Subsign: Your more recent projects focus on environmental issues and, much like Invitation to Invade, where you highlight plastic pollution, they carry a powerful message. What inspired you to explore this theme?
Adedolapo: Just as I mentioned earlier, my work is shaped by my personal thoughts, experiences, and observations. Mental health, our connection to nature and humanity in general, are mostly things I’ve focused on over the years, because these are aspects that have deeply affected me personally. Growing up, my mom’s love for plants and my brother’s discipline as a forester influenced my appreciation for the environment. But it was after the 2020 pandemic, when I found solace in my family’s herb garden, that I truly understood nature’s healing power.
My personal experience with flooding made the issue of plastic pollution even more personal. Researching the cause, I realized that plastic waste clogging drainage systems was a major factor. This realization led me to Invitation to Invade. I began collecting plastic waste in my neighborhood, using it to create images before sending it to a local recycling plant. The goal was to go beyond documentation and make the issue feel immediate; something people couldn’t ignore.
Rather than using the traditional documentary approach, I wanted to use fine art photography to provoke thought. I sketched ideas with my friend Yemi, ensuring that plastic felt dominant in the images, symbolizing its suffocating presence in our lives. The warm tones weren’t just for aesthetics, they represent heat, burning, and global warming, reinforcing the environmental crisis. making the unsettling message more striking.
For me, environmental work isn’t just about highlighting issues, it’s about shifting perspectives. Through Invitation to Invade, I want viewers to recognize their role in plastic pollution and rethink their relationship with waste.
Subsign: Is there a particular photograph that is your favorite?
Adedolapo: I don’t have a particular favorite. Every image in the series is intentionally striking and unsettling, just as I envisioned. Each one plays a role in conveying the urgency of the issue. I hope my next body of work continues to serve this purpose!
Subsign: What advice would you give to someone just starting out in photography?
Adedolapo: Photograph every day and be part of a community. Shoot, experiment, and embrace mistakes. The more you practice, the more you rediscover yourself and your work. Creating the work is just the beginning; how it’s presented shapes its impact. A powerful image can lose its voice if not framed with intention, while the right presentation can elevate even the simplest idea. Both are inseparable, one breathes life into the other.
Also, being a part of a community is just as important. Engage with other photographers, share your work, and learn from others. As artists, we take the ‘risk’ of believing our work will be understood and appreciated, but being in the right creative circles can make that journey easier.
Subsign: Can you recommend a book, a song and a movie, for our readers?
Adedolapo: I have a pretty bad memory, so I just read/consume any art for the enjoyment of it rather than to remember every detail vividly.
For book, I’d recommend “Notes on Grief” by Chimamanda Ngozi Adichie. It offers an introspective experience of death, loss, nostalgia, and family. I felt it deeply because it’s one of the most genuine and powerful expressions of mourning I’ve ever read.
For song, my music taste is quite vast. I listen to everything and anything! But because I’m drawn to beautiful rhythms, I’d recommend anything from Ahmed Malek (Algerian jazz artist) and Mulatu Astatke. Their music has a timeless, atmospheric quality that stays with you.
For movie, I’d suggest Close-Up (1990) by Abbas Kiarostami. I love how it’s not just a movie but an experience that blurs the line between reality and fiction to explore passion, identity, and the lengths we go to for art.
Subsign: Can you share a dream of yours that you hope will one day become reality?
Adedolapo: Personally, my biggest dream is to live on the countryside, in a home designed and built by myself with my partner, surrounded by nature, and running a shelter for dogs. I’ve always been drawn to architecture and design, and I hope to create a space where socially ‘awkward’ creatives can come together, feel at ease, and just exist as themselves.
For my work, I think a lot about legacy. I want my art to reach people on a deep level, to spark dialogue, shift perspectives, and make an impact. If my work can contribute to a larger understanding of the world and our role in it, that would be the most fulfilling thing.
Thank you, Adedolapo, for being a part of our Spotlight!
If you know an artist that should be in the spotlight, contact us at teodora@subsign.co.
For more of Adedolapo‘s work, you can follow him on Instagram.
