Dianna Offor, nicknamed "God's Artist," is a Nigerian-born visual artist, whose work is dedicated to expressing the essence of God and importance of faith in todays society. Currently living in Ireland–where she recently acquired a diploma in studio art painting, Offor has spent the last three years depicting the theme of Hope and Love through her biblical abstract paintings.
The day before my conversation with Offor, she had her first painting session after a month-long hiatus. She had taken a break from the sensory touch of her paintbrushes to rejuvenate. Offor often commits to these epochal moments to reinvigorate the ethereal part of her life through prayer, meditation, and frequent communion with the holy book, the Bible–A practice that keeps her in check during stressful moments.
The Early Days
In the early aya, Dianna's life would have taken a different course as being an artist was a difficult battle she had to wage in the early stages of her life. She reminded me of the prevailing societal sentiment that is indistinct to her, "Growing up in Nigeria, you can't be an artist. You want to be unfortunate."
"My parents were not supportive of my little ambition, they looked down on it."
Between the ages of 13-14, the discouragement by her parents to end any ambition she had in an Art career (primarily drawing) became an unnerving experience for Dianna:
"My parents were not supportive of my little ambition, they looked down on it. It was challenging because I took drawing seriously and dedicated time to it every day, from primary school to junior secondary school. Initially, I was making still-life drawings, which were not realistic but allowed me to replicate objects. However, as I approached my WAEC exams in JSS3, they became concerned and demanded that I stop drawing, believing it would hinder my academic success."
She gave in to their demand: "I stopped doing art. Even in school, I had to choose another subject because I knew I wasn't going to practice art. I wasn't even trying to give myself false hope.”
Since she did not meet the course prerequisite set by WAEC (the West African Examination Council) for art-related careers, she could not gain formal admission to the university to study art. This resulted in a blackout in her art studies.
"That was when the realization hit me hard. It was like I had various choices in front of me. I could have become a lawyer because I love to argue. Or maybe I could have pursued psychology because I enjoy reading people. However, due to my WASSCE courses, I could not practice visual arts at university. That was a significant obstacle for me. So I opted for theatre arts instead."
Gradually, she began to dabble towards her earliest ambitions. "After completing the foundation program, I reapplied for visual arts because I passed. This allowed me to choose my desired path. However, remember that I hadn't engaged in art for years and naively believed I would excel immediately. Instead, I failed miserably. Despite being a pro at drawing, I struggled to draw a straight line.
This experience significantly shaped me as an artist, teaching me the importance of practice and consistency. Regardless of talent or skill, neglect can lead to regression. I had to start practising again, which was challenging in a competitive environment. I was surrounded by students from Yaba College of Technology and individuals who drew daily. These men were much older than me, and I was only 16 at the time. Needless to say, the competition was fierce, making it incredibly difficult.
Due to my long withdrawal from art, I couldn't paint immediately. The lack of experience prevented me from starting. Consequently, I only began painting after graduating in 2020. That's when my journey as an abstract artist truly commenced."
The Woes of Lockdown
In response to the Nigerian government's nationwide lockdown in 2020, instituted to curb the spread of the then-sporadic coronavirus, people were socially isolated and confined to their homes. It was evasive. If one had all the reasons to dash the curfew then, certain safety measures must be adhered to. While many felt despondent, Offor saw this period as an opportunity for self-reflection.
Taking advantage of the solitude of isolation, she introspected on the "what ifs" of her life and career path. "It offered a fresh perspective, you know, on the importance of decision-making," she reflected. With time on her side, she carefully considered what she truly desired. After reflecting on her past education, Offor realized that she had studied a field she had no passion for. "I knew I would never use it," she admitted. "Textile design? Come on!" Determined to make a bold change, she resolved to learn how to paint, a skill she had never been formally taught.
She bought painting supplies such as palette knives, paints, brushes, and canvases. Then, she began watching YouTube videos. Setting out into her charismatic life with the first step archived, Offor wasn't certain what kind of painting to own up to. Considering the tentativeness of an indecisive and oscillating representation form, especially for an artist who's expected not to be a "jack of all trades," this became a bone of contention between her self-awareness and popular rationale. "I was initially confused, overwhelmed by the choice between abstract and black paintings. Having no prior experience with either style, I found them both popular, but also unfamiliar territory. I gravitated naturally to the black paintings because I felt I was representing my race and the abstract ones seemed a bit whitewashed, although it was my preference hence it was more natural to me. I worried about explaining my interest in a style not typically associated with Black artists. So, I decided to experiment."
"You just let the moment direct what you're trying to convey. It's you being raw and being a medium to pass an intended message."
She began to struggle with her identity as a 'black' woman who loved 'white' people's paintings. She felt she was not being herself as an artist and wasn't communicating her "blackness" or Nigerian descent through her portraits. A path she said she had to sever, "I knew I wasn't trying to communicate blackness. I'm not trying to communicate what it feels like to be a Nigerian. So why am I painting stories that aren't mine?"
Offor had to move away from portraits and try hands with abstract art, which she found liberating and allowed her to express herself more authentically. She believes that, "You just let the moment direct what you're trying to convey. It's you being raw and being a medium to pass an intended message."
The outcome of this unconventional experiment turned out to be fruitful in the long run. Offor acknowledged that her early paintings looked strange and very "novice-ish", but when she started uploading them to her Instagram page, she received varying genuine feedback. "People were saying the paintings were nice and really pretty."
Her work began to gain market traction. Patrons ranged from people with interior design businesses to clubs and households. Apparently, she had moved from figuration to aesthetics to make money, and while it was successful, she realized that she was still not satisfied as an artist. "Something was missing," she recounted.
The Regular Way Became Awry
Offor was still being commissioned to create works for private clients, an attention she felt was surreal for a new entrant like herself but relished, until a defiant psychic thought crept in.
"As I continued to make sales, I persisted in prayer, asking the Lord if this was truly what He wanted me to be doing."
"I needed direction, and I was just pursuing anything that felt right at the time. There was even a period when I was painting nude figures as well. Clubs would reach out to me and express interest in those works. In my mind, I would question whether that was appropriate for a Christian artist. I didn't feel I was doing anything inherently wrong, but I sensed something was missing. I don't know exactly what, but there was a void.
As I continued to make sales, I persisted in prayer, asking the Lord if this was truly what He wanted me to be doing. I wondered if the art I was creating was adding genuine value for the people purchasing it. I know they simply wanted something aesthetically pleasing for their homes, but I aspired for my art to be more impactful than that - to provide something of true worth to the buyer. I didn't want my work to merely be a nice decoration they put on the wall.
I began to reason that the way I could make a true impact was by imbuing my art with deeper meaning and purpose. This felt different from the mere buying and selling transaction. I wanted the experience of acquiring my art to be transformative for the customer in some way, not just a superficial commercial exchange."
Her faith became a chief influencing factor. However, the rampant influx of people who resorted to creating commissioned artwork on Instagram, similar to Offor's endeavours, was alarming. To say the least, the market dovetailed due to an overwhelming supply (rather than demand), and it turned out to be extremely competitive. "The trend had resurfaced, and everyone was engaging in it once more. I felt a sense of déjà vu, as if we were back at the same point. Everyone is doing what I'm doing, and it's not feeling unique."
A Call to Service!
The statutory career knot for an average artist is being able to monetize their craft and gain recognition for their social contributions and ingenuity, though the latter is secondary to some. Offor wasn't entertaining any of those anymore. She questioned her value sheet, checked off some redundancies, and erupted into a more closely knit representation of her belief system. "So I decided to pray more about this journey. I had the belief that I was on the right path at the time, but what is this journey? And then I just started getting convictions like, 'I'm a Christian.' But then, when I merge biblical principles with creativity, that's how I navigate my life. My actions align with these values, which serve as the foundation for my approach."
"There is a verse in the Bible that instructs us to go out into the world and make disciples. I felt I could utilize art as a means to reach people in a meaningful way."
Her thought process was semantically vested in her Christian perspective:
"There is a verse in the Bible that instructs us to go out into the world and make disciples. I felt I could utilize art as a means to reach people in a meaningful way. Many individuals are not inclined to simply read a biblical verse. I was one of them - I didn't have much interest if something did not speak to me on a personal level. So I decided to start painting interpretations of scripture, but to do so in my own artistic style. In art history, there are artists like Michelangelo who created very representational Christian artwork, painting figurative scenes like the Fall of Man or God and Adam.
I chose not to follow that same literal path, as I felt it did not leave much room for people to think and explore their own conception of God. It's almost as if depicting Jesus directly tells the viewer 'this is a Christian work.' Instead, I wanted to venture out and use colour and abstraction to represent faith in a more open-ended, relatable way.
My aim was to create art that would engage people on a deeper level, allowing them to interpret the spiritual elements through my own artistic lens rather than merely presenting them with a direct biblical illustration."
Despite the fact that Dianna's new modification in practice is rationally gauged as faith-based altruism, her portraits depicted more of her personal encounters as a Christian. Regardless of the subject, they all tie back to a common theme - Hope!
"My artistic practice is deeply personal and intimate. It reflects the various facets of my own spiritual journey, which I aim to convey through my work. I explore themes of love in all its complexities - love as pain, love as joy, love as sacrifice, love as patience. These are the qualities I believe are exemplified in the life and teachings of Jesus.
My goal is to share with others the message that if they are seeking hope and answers, they can find it in a relationship with Christ. I want to convey that one can be a devoted Christian while still facing immense challenges in life. Even when circumstances are difficult, one need not lose their core sense of self or connection to biblical principles.
Throughout my paintings, you will find a common thread - I am continually directing the viewer back to scriptural truths and how they have impacted my own lived experiences. The titles and narratives behind each work reflect real events, struggles, and triumphs I have encountered, even in this current season.
For example, I am presently working on a new body of work that grapples with the difficulties I have faced as a Nigerian immigrant trying to establish myself in the Irish art scene. The themes of time, waiting, and perseverance in the face of adversity are central. I question why the path has not always been smooth, even when I feel I am following God's calling.
Ultimately, however, my messages always conclude with a note of hope. No matter how bleak the circumstances may seem, I firmly believe there is always reason to have faith that brighter days lie ahead. This unwavering hope in the goodness of God's plan is the foundation upon which my artistic expression is built.”
Behind the Eyes That See
We have seen Dianna Offor go from displaying her works on Instagram walls to the regal exhibition catalogues of several galleries, including group exhibitions such as 'Things Left Unsaid' at Affinity Gallery (2023), 'Purple Place' at Olori Gallery (2022), and 'Grow Up' at the Art Hotel (2022). Yet, one thing a lot of viewers who appreciate her work can't decipher from the rear view is the backstory begetting each of these paintings - the unspoken perplexity of melding two incongruent milieus, religion and art, which hold individual but often conflicting interpretations to different people. "It was painful when people stopped buying from me," Dianna confessed.
"My sales declined when I reverted to biblical paintings."
Sharing her experience on how she's been daring to equate the two without unhealthy compromise, she said, "It is more challenging than a secular artist if you ask me because, when I was painting what people loved, with no scripture, I wasn't going religious - it was fine by people. But my sales declined when I reverted to biblical paintings."
With no regrets about her choice, she holds the resolution that "You need an audience that cares about what you do."
“When I started painting scriptural verses, that's when the big brands started reaching out to me. I wasn't dealing with people who just wanted to buy paintings for their homes anymore. It had become more of a practice, with people and galleries coming to me based on my beliefs and what I stand for. There wasn't any room for compromise. I wasn't trying to sell myself just to make money. This is who I am as an artist - you either take it or you don't.
The reception was very low and discouraging. There were times when I wouldn't paint about my faith because the response wasn't as encouraging as before. Even my dad advised me to paint about global warming or current events, as he thought people wanted to know those things. But I told him, ‘Dad, people need Jesus. And that's my calling.’ I have nothing against people painting about other topics, but that's their calling, not mine.
That's when I really had to stand firm in what I felt God had sent me to do. It was a test - was I going to do it or not? This direction I had been seeking, is what God wanted me to pursue. So I had to endure. There was a time when I was just making works with no feedback, posting to what felt like a dead audience. I would change up the same canvas, painting something new, because I knew people weren't responding to the old ones. I did this until it seemed the ice was finally broken, and people started to accept, ‘Okay, I think that's what she's about now. We may not fully understand, but I think we do now since she's stayed the course.’
That's when I made my whole page an evangelism platform for my art, using it to preach. I realized I needed to clarify the purpose - my art is faith-based, directly aligned with my experiences and relationship with God. I'm trying to bring people to know God and Christ, for those who want to know Him.”
Talking about her plans and propositions for the future, she contemplates the possibility of integrating her current artistic style with other creative forms or frameworks. Offor envisions incorporating other creative methods, such as sound and painting. She sees music like painting, with notes resembling colours. She views herself as both an artist and a composer, and different sounds evoke various moods. Dianna wants to merge these elements authentically, unlike others who have combined music and painting.
Filmmaking is another art form she's considering exploring. Her photography studies have opened new creative dimensions, and people have remarked that her photographs resemble paintings. She aims to give her pictures unusual perspectives and tell different stories. "These things happen in stages, and I don't want to get ahead of myself. I believe I'm where I should be right now, but there's still a lot to come. I don't want to exaggerate, but it's the truth." She accords time.
Offor’s Ideology
Dianna Offor shared her perspective on the perceived incompatibility between being a creative person and a Christian (broadly, religion). She said:
"People think it's impossible to be a creative Christian. I didn't know it was possible because when I started painting, that was the last thing I expected. In fact, if somebody had told me then, I might have reacted strongly, like 'Look at me, what exactly do you want me to do?' I didn't think it was possible because I had never seen it, and I thought there were no Christian artists. I just didn't think it would work because we're so used to what we're accustomed to."
However, Offor's views on this changed over time. She explained, "This became my ideology, an ideology that I never really cared about, because why did I think it was impossible? I don't know. Why did I feel it wouldn't be done? I don't know. But this is when people impose perceptions on you - society would impose on you. It's up to you to accept it or not."
"There's another world that exists. There are people who love art and are still Christians."
When she started painting, she met other Christian artists, which was an eye-opening experience. "There's another world that exists. There are people who love art and are still Christians. If you ask me personally, I will tell you that you're more successful as a creative if you're rooted in God, in Christ. Because to me, he is an inspiration, everything came from him. So what else are you really looking forward to be inspired by?"
Offor had to create her own ideology that "it is possible to be an artist and be Christian and be excellent. When I paint, I try not to be basic because I'm a Christian and say, 'well, God will do it for me.' No, I'm going to paint as well as secular artists that get recognized so that my works play on the same level as theirs." This enabled her to be on the same platforms as other artists, despite the initial perception that she was not at their pace.
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