A Contextual Interrogation of Balafaama Princewill’s paintings
by FAIDA Samuel, Msna, Mahan – Art critic and Curator
Art has long served as a reflection of society, and artists are seen to communicate with society through various art forms, such as paintings, sculptures, graphic design, and others. Artists use their artwork to reflect, challenge, and engage with societal realities.
Through their arts, they critique government actions, applaud positive changes, or highlight pressing societal issues. Hence, their artworks surpass mere aesthetics, transforming into a tool for change. As such, artists through their works create dialogue and discourse, ensuring that things are going well in society. Balafaama Princewill is among Nigerian painters whose paintings address diverse societal issues.
Balafaama is a self-trained multimedia artist, born and raised in Lagos, Nigeria. Her artistic journey began in her childhood days, like many other children, but she continues to build on that, without formal training, passionately. Happenings around her inspired her to paint and communicate her feelings, particularly works rooted in themes based on the realities of mental health struggles.
Balafaama has exhibited widely. Some of the exhibition she participated includes; FTX Africa, at Lagos, Nigeria in 2021, Forging the Future, Dak’Art La Biennale De Dakar, Dakar, Senegal in 2022, NFTNow The Gateway – Art Basel, Curated by African NFT Community, Miami, USA in 2022, Common Ground, New Comma, London, UK, 2024, and Deconstruction – Reconstruction, The Art Collective, at Manchester, UK, to mention few among several others. Balafaama has also participated in several art workshops and other art-related activities. Consequently, in this review, three of her paintings will be contextually interrogated, and they include: The Oath, If Not Now, When?, and I Now Like Myself.
The discussion and analysis will be done in the order above.
For instance, in The Oath, Balafaama depicts a female figure dressed in traditional Nigerian attire and wearing a three-step necklace, typical of conventional Nigerian adornment. The background is painted in orange colour, creating a contrast with the figure and drawing attention to her presence. The figure appears angry, raising her right hand, scarred and bleeding. Her hair is styled in a circular form that resembles black roses. The figure’s raised hand mimics the gesture of pledging, but it’s stained with blood, an unsettling reminder of the weight of promises made, especially when they are broken. Contextually, the figure represents Nigerians, bleeding from the weight of empty words and betrayed by the politicians and leaders.
According to Balafaama, “This painting is inspired by leaders who make promises but fail to keep them. This piece highlights the disappointment and harm caused when those in power let people down. It serves as a reminder of the gap between our words and actions, and the cost of our broken promises. I pledge to Nigeria, my country, to be faithful, loyal and honest. Or did they change this one too?” Thus, Balafaama’s rhetorical question reflects a deep frustration shared by many Nigerians. The work draws on.
Nigeria’s long struggle with political integrity captures a society where public trust continues to erode, as citizens grow tired of leaders who raise their hands in oath while their other hand clings to personal gain. See Plate I for ‘The Oath’.
Plate I: The Oath, Balafaama Princewill, Acrylic on Canvas, 100 x 100 cm, 2024.
Contextually, the painting resonates with Nigeria’s political scene, where the public has grown tired of leaders who swear oaths with one hand raised while the other clutches self-interest. The painting references the national pledge. I pledge to Nigeria, my country, to be faithful, loyal and honest, is a critique, followed by a sarcastic question: “Or did they change this one too?” It echoes the weariness of a generation who have watched oaths become empty rituals in the mouths of leaders. The painting becomes a silent protest and a visual lament of betrayal that many Nigerians can relate to, especially in the aftermath of unfulfilled campaign promises, economic hardship, and broken public trust. The Oath is not just a painting; it is a statement about the deep and often painful connection between words and actions in a society starved of accountability. Even though Balafaama is currently not living in Nigeria, her work shows a deep connection to her homeland. Through The Oath, she channels her concerns and emotions, sending a strong message to both Nigerians and their leaders. Similarly, the painting serves as a reminder and a call for accountability, and a reflection of the pain carried by a nation still waiting for honesty and development.
In Plate II, Balafaama presents a composition titled If Not Now, When?, featuring two female figures, an adult and a teenager, engaged in a quiet, emotional moment. The adult, positioned on the left, holds what appears to be a wine bottle in her right hand, while beside her stands a table with a flower in a vase and a wine glass. These objects suggest a setting of reflection or perhaps routine escape, hinting at the realities and emotional weight that adulthood often brings.
The teenager, on the right, gently touches the adult’s cheek with her left hand. This gesture introduces a sense of tenderness, concern, and longing, almost as if the younger self is confronting the older self. The adult is painted in warm tones of brown, while the teenager is rendered in a calm, light blue colour. The two colours created a contrast in the composition; this contrast is not just aesthetic, it reflects two different emotional and psychological worlds. The brown tones suggest a grounded but possibly burdened identity shaped by life’s decisions and compromises, while the blue suggests innocence, clarity, and untouched ideals. See Plate II for “If Not Now, When?”
Plate II, If Not Now, When? Balafaama Princewill, Acrylic on Canvas, 120 x 90cm, 2024.
According to Balafaama, “If Not Now, When? explores the introspective journey of adulthood, reflecting on the decisions and compromises that shape who we are today. It asks the question: how would our younger selves view the lives we now lead? The painting touches on the bittersweet loss of innocence and the values we may have left behind, inviting us to reconnect with the dreams and ideals of our past selves”. She further states that, “If Not Now, When? serves as a reminder to honour those early aspirations and make choices we can stand by, even in the face of life’s complexities”. Balafaama’s own words provide the key to understanding this work. She describes If Not Now, When? as a contemplative journey into adulthood and the choices that shape our identity. The painting asks: How would our younger selves view the lives we now lead? This exact question is visualised in Plate II, where the teenager seems to be silently questioning or comforting the adult. It captures that moment of self-reflection when we measure who we have become against who we once dreamed of being.
Contextually, the wine bottle and glass can be seen as symbols of coping, maturity, or even detachment, while the flower may represent fading ideals or beauty that persists. The teenager’s touch is a call to remember, to reconnect with one’s early hopes. Thus, If Not Now, When? connotes the quiet heartbreak of adulthood, where dreams are often replaced by duties and ambition fades beneath compromise. It asks a question that is as timely in Abuja or Lagos, Nigeria, as it is anywhere else in the world: Would my younger self be proud of who I have become? There is something particular about this question relating to Nigeria, a country where young people often battle with unemployment, migration pressure, and systemic roadblocks to success, many find themselves far from the futures they once imagined, having been told that they are leaders of tomorrow. Contextually, the painting If Not Now, When? is intimate and reflective, charting the emotional terrain of adulthood and the dissonance between youthful ideals and the compromises of our present lives. In essence, this artwork echoes Balafaama’s belief that we must honour our early aspirations, even when adulthood challenges us with its many complexities. The painting is not only a reflection of the artist’s personal growth but also a moment many people can relate to, where the innocent version of ourselves meets the grown version and silently asks, “Is this who we wanted to become?”. Therefore, this painting creates a visual dialogue between past and present; The painting encourages viewers to pause, reflect, and perhaps return to the core values they once held dear.
“I Like Myself Now” in plate III is a digital self-portrait by Balafaama. The figure’s hair is rendered in a light brown tone, textured in a way that appears rough, almost like an old sponge. The female figure is portrayed in a contemplative mood, her hands gently placed on her chest, suggesting self-examination or emotional grounding. Surrounding her are green leaves, which not only frame the composition but also enhance the visual contrast, infusing the piece with a sense of life and renewal. Through this work, Balafaama celebrates her personal growth and the distance she has travelled on her life’s journey. The painting becomes a quiet yet powerful affirmation of self-acceptance, resilience, and transformation. Balafaama has this to say about the painting, “I celebrate the culmination of my journey, where I have learned to love and accept myself unconditionally. It’s a testament to the power of patience and perseverance, and a reminder that true happiness comes from within. Through my artwork, I hope to inspire others on their journeys of self-discovery and acceptance. It’s not always easy, but it’s worth it. And remember, good things do take time. Plate III shows I Like Myself Now.
Plate III, I Like Myself Now, Balafaama Princewill, Digital Painting, 2024.
Contextually, the figure’s pose is central to the emotional tone of the piece, with hands gently placed on her chest, she seems immersed in reflection, neither fully smiling nor despondent, but rather occupying a sacred space of inner stillness. This gesture, often associated with gratitude or self-soothing, reflects the artist’s statement about having learned to love and accept herself “unconditionally.” The pose does not demand attention; instead, it quietly claims it, inviting the viewer to pause and consider what self-love might look like in its most honest form. Surrounding the figure are green leaves, which not only contrast with the central tones of the figure but also serve a symbolic purpose. Green is often linked with renewal, healing, and growth, all themes echoed in Balafaama’s reflection on her journey toward self-acceptance. The leaves suggest that she is not only rooted but flourishing. They frame her like a wreath, subtly crowning the self with dignity and peace. This compositional element reinforces the idea that her story is one of survival and blossoming, a narrative of growth that has taken time and effort to nurture.
Balafaama’s own words contextualise this visual storytelling: “I celebrate the culmination of my journey, where I have learned to love and accept myself unconditionally”. Her message about patience and perseverance resonates with the figure’s composed expression. Ultimately, I Like Myself Now is more than a self-portrait; it is a declaration that celebrates not just the destination but the emotional labour of arriving there. It invites viewers to witness not only who Balafaama has become, but also how she got there. In doing so, it extends encouragement to others: that self-discovery, though difficult, is possible, and that good things, especially self-love, really do take time.
In conclusion, in these deeply personal yet collectively resounding paintings that were contextually interrogated, Balafaama’s paintings reveal how art can serve as both a mirror and a map, reflecting individual and national struggles while guiding the viewer toward contemplation and truth. The Oath voices the collective anguish of a betrayed nation, where promises are made with raised hands and broken in silence. If Not Now, When? navigates the emotional terrain of adulthood, questioning the gap between youthful aspirations and present realities, especially in a Nigerian context. In contrast, I Like Myself Now offers a quiet resolution, a meditative portrait of self-love born from endurance and growth. Together, these paintings form a compelling narrative, speaking to the soul of a nation and the spirit of the self.
