LVH Art recently spoke with London-based artist Jamiu Agboke, whose captivating landscapes, rendered in murky deep greens and rich earthy tones on copper and aluminum capture the sensations of moving through a space. His canvases are dynamic compositions of energetic mark-making, transforming our perception of environment and time. In our conversation, Jamiu shares insights on the influence of dreams in his work, the inspiration he drew from a Dinah Washington song, how his shift to painting on metal has transformed his process, and more. 

He has two upcoming shows in 2025 — first at VIN VIN Vienna in March, followed by a show at Massimo De Carlo in Paris in May.

Valley (diptych) 1 (2024), Courtesy the artist and VIN VIN Vienna.

LVH Art: In all of your work, there is this sense of movement, could you elaborate on that and explain what you're trying to express through it? 

Jamiu Agboke: My work focuses on the experience of moving through a space rather than just depicting it. I’m interested in capturing the feeling of a place, what it’s like to be there rather than the exact details. A lot of the scenes come from memory or dreams, which gives them a fleeting quality, like trying to recall something after the moment has passed. My paintings are landscapes, but they often blend reality with elements of imagination to express that sense of transition and movement.

LVH Art: Do you typically work en plein air, or do you prefer using photographs as a reference? 

Jamiu Agboke: I don’t do either of those things. I prefer to draw from life, and I still go out to draw because I enjoy it and find it a good exercise, which lends to my painting practice, but it is separate from my studio process. I don’t work from photographs because they’re static—they freeze a single moment in time, which misses the shifting light, atmosphere, and movement of a place. A photograph can feel too fixed, whereas the work is about capturing the experience of being in a space.

Installation view from Veils of the horizon, Courtesy the artist and VIN VIN Vienna, Photo: Deniz Güzel.

LVH Art: Are there any activities that help inspire or influence your work?

Jamiu Agboke: Drawing definitely plays a role, but I also find energy in activities like running, walking, and hiking. Being in motion, especially in nature, helps me connect with the spaces I paint. I don’t treat these activities as “data collection”. I’m not going to Hampstead Heath to photograph autumn leaves, for example. I’m there to experience the place. The more I move through spaces, the easier it is to capture that feeling in my work. When I’m too stagnant, painting becomes more challenging because I lose that sense of connection.

LVH Art: To what extent is your work influenced by dreams?

Jamiu Agboke: I often don’t realize a painting is tied to a dream until it’s finished, almost like uncovering something hidden during the process. The work is also bound by chance, as shapes, colors, and ideas emerge as I paint, and I follow them intuitively rather than planning everything in advance. Occasionally, I’ve painted something I clearly remembered from a dream, but that’s rare. It’s usually about piecing together fragments from memory, imagination, and the unexpected moments that arise during the process.

Valley (diptych) 2 (2024), Courtesy the artist and VIN VIN Vienna.

LVH Art: Could you elaborate on the surfaces you paint on and how the variation in your brushstrokes contributes to the overall effect of your paintings? For example, in Valley (diptych) 2, we can see how the brushstrokes in the river are long and fluid, while the shorter, more brash strokes in the dark green grass to the right create a strong contrast.

Jamiu Agboke: I paint on metal because it offers a different kind of interaction with the paint. Unlike canvas, which absorbs and slows the paint down, metal lets the brushstrokes sit on the surface more directly. This makes me more deliberate in how I layer and build the painting. The surface has a certain responsiveness that mirrors the movement and texture I’m trying to capture. For me, varied brushstrokes are like building a composition where every element plays a role, long strokes, shorter marks, and thicker textures work together to give the painting depth and energy.

Where There Used to Be Rain (2024), Courtesy the artist and VIN VIN Vienna.

LVH Art: Where There Used to Be Rain (2024) also has a beautiful range of brushstrokes. It’s a great work, could you tell us more about it and your approach to creating it?

Jamiu Agboke: The title Where There Used to Be Rain comes from a line in Dinah Washington’s song What a Difference a Day Makes. I heard the song on my way to the studio, and it stayed with me throughout the day. The mood of the song, its mix of lightness and melancholy, felt like a perfect match for the painting. It wasn’t that the music directly inspired the work, but the way it balances reflection and change that resonated with the themes I was working through. The title felt right because it captured the emotional tone of the piece. 

LVH Art: How has your practice evolved over time? For example, at one point, figures were present in your work, but your most recent works seem to be devoid of figures entirely. Perhaps you could speak about this transition?

Jamiu Agboke: Over time, my approach and focus have shifted. Early on, I included figures in my work, but I found they anchored the narrative too much. They made the painting about the person rather than the space or surface. Now, I’m more interested in creating open-ended works that leave room for interpretation. Removing figures has allowed me to focus more on the interplay between texture, color, and movement. My materials have also evolved. I moved from painting on canvas to working on metal, which has completely changed my process. Metal requires more precision and doesn’t allow for endless reworking like canvas does. This shift has pushed me to make more deliberate decisions, which I think has helped my work mature.

Golden Sky (2024), Courtesy the artist and VIN VIN Vienna.


LVH Art: When did you shift from painting on linen canvas to metal, and what makes it more challenging? 

Jamiu Agboke: I started painting on metal about a year and a half ago. It’s not a new material historically, especially copper, but it requires a different level of control. On canvas, the paint can be endlessly adjusted, which sometimes makes it harder to stop. Metal doesn’t give you that leeway—it holds the paint in place more quickly, so I have to commit to my decisions. That limitation keeps me focused and makes the process feel more intentional.

LVH Art: You have a show coming up next year with Vin Vin in Vienna, and with Massimo De Carlo in Paris. Could you tell us what you are working on for those shows or if there are any themes you are exploring? 

Jamiu Agboke: In terms of planning ahead, I can’t really say what’s going to happen till after the works have been made. The same goes for shows too. Right now, I’m simply exploring, but I’m excited to exhibit in Vienna and Paris, given its rich history in painting.

Veils of the Horizon (2024), Courtesy the artist and VIN VIN Vienna.

Photograph of Jamiu Agboke, Courtesy the artist, Image by Federico Borghesi.