Born in 1974, Lagos, Nigeria where he still lives and works, George Osodi is a world renowned
photographer with recent exhibitions in Newark, USA, Budapest, Hungary, and upcoming at the Yinchuan Biennial, China.
After studying Business Administration at the Yaba College of Technology in Lagos, Osodi worked as a
photojournalist for the Comet Newspaper in Lagos from 1999-2001. He then joined the Associated
Press News Agency in Lagos from 2001 to 2008. Internationally acclaimed, his photographs have
been published in the New York Times, Time Magazine, USA Today, The International Herald
Tribune The Guardian Newspaper (UK), The Telegraph (UK), CNN and the BBC.
George Osodi’s work is part of private and major international public collections, to include the
Smithsonian Museum, Washington DC, National Museum of Greece, Martin Marguiles Collection in Miami and the Museumslandschaft Hessen Kassel in Germany.
His work will continue to travel around the world, and in doing so, be a positive ambassador for
Osodi’s works evokes the traditions of photojournalism and portraiture to explore the complex narratives of his home country of Nigeria. Osodi has travelled the continent of Africa documenting the social and economic experiences and struggles of its populations for projects such as Oil Rich Delta Burns (2003- 2007), De Money – Ghana Gold (2009) & Nigeria Monarchs (2012- present day),
with much of his work concerned with the question of African identity in the twenty-first century.
Osodi turns his lens on the people and places of his own country as in Nigeria Now: Rulers & Festivals.
Osodi states that “documenting and archiving culture is the key to understanding origins and thus
developing a sense of identity.” The colonial history of African countries like Nigeria has seen much
of its own history sublimated and supressed. The Nigerian Monarchs and Calabar Festival projects
foreground the conversation between Nigeria’s cultural history, the external forces that have sought
to influence it and how it continues to adapt in the new millennium.
George Osodi’s photographs raise questions regarding self-presentation, collective identity, how and why we construct the archive and how this process influences our understanding of who
we are and where we came from.
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