What first inspired you to become an artist?
I am not entirely sure but as a child I was always fascinated by the work of artists. As a child in Nigeria, I attended children's art workshops in the museum in Lagos.
Your work is bound with beauty and darkness, exploring issues of colonialism, racism and cultural identity with a gentleness and humour. How do you command this kind of balance?
The point of art is to move beyond simplistic binaries and to explore the complexities of the world, the grey areas. Art must never simply be the illustration of a problem; it has to transcend it.
Batik fabric features in many of your works and installations. With its interesting history, what makes you gravitate towards it and what does it signify?
Batik is Indonesian-inspired fabric which was subsequently factory-produced by the Dutch and then traded in Africa. I use this fabric to explore the complex relationship between Africa and Europe, particularly the complexities of contemporary hyphenated identities.
The art history canon, as it stands, is largely representative of Western contributions and visions of art. Your curated exhibition, Talisman in the Age of Difference, however, features artists who make provocative, political works that actively do not conform to this. Do you think increased representation of works such as these could lead to a more inclusive art history canon?
Society is changing and becoming more diverse, it is increasingly important that diversity is reflected in culture, particularly in the art canon. It is therefore imperative that all of our educational institutions acknowledge this and adjust the curriculum accordingly.
Who or what most inspires you?
I am mostly inspired by history, colour and the excitement of the unknown.
You describe yourself as ‘The rebel within’ the institution. With a Turner Prize nomination, Nelson’s Ship in a Bottle on Trafalgar Square’s fourth plinth and having been awarded as an MBE and a Royal Academician, what else would you like to take on?
I am in the process of building an international artist's residency space in Lagos Nigeria, I look forward to setting this up with great excitement!
Can you tell us a bit about your creation, Guest Projects?
Guest Projects is an interdisciplinary artists experimental space that I have supported for ten years in my studio in East London. It is a space where artists can try out new ideas. Artists are provided with a space for one month but they must fund, market and invigilate their own shows. It has been a very empowering way to run a space without revenue funding. The space I want to open in Lagos, Nigeria is an extension of what Guest Projects has been doing for ten years, with the exception of the added residential element. This time I will be seeking the support of other institutions to support artists to do the residency.
What upcoming projects are working on?
I am working towards a show at Goodman Gallery in Johannesburg and Front Triennial in Cleveland and numerous other group shows.
What made you decide to join Artimage, and what have been the greatest benefits?
I joined Artimage for its excellent image management facilities as I am too busy to manage this side of my career effectively.
Browse more Yinka Shonibare artworks below, or view our full collection here.
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Venus de Milo (after Alexandros), 2016 (detail)
End of Empire, 2016
Butterfly Kid (Girl) IV, 2017
The Swing Headless, 2016
The Crowning, 2007 (detail) 
Balloon Man, 2015
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Images: Self-Portrait (after Warhol) 3, 2013 © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery, London; Last Supper (after Leonardo), 2013 (detail) © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery. Photo: Stephen White; ...and the wall fell away, 2016 (detail) © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery. Photo: Mark Blower; The British Library, Turner Contemporary, 2016 Co-commissioned by HOUSE 2014 and Brighton Festival © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery. Photo: Stephen White; Bronze (Purple Fabric), 2016 © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery. Photo: Mark Blower; Venus de Milo (after Alexandros), 2016 (detail) © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery. Photo: Mark Blower; End of Empire, 2016 © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery, London. Co-commissioned by 14-18 NOW and Turner Contemporary, Margate. Photo: Stephen White; Butterfly Kid (Girl) IV, 2017 © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Goodman Gallery, Johannesburg. Photo: Stephen White; The Swing Headless, 2016 © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy James Cohan Gallery. Photo: Stephen White; The Crowning, 2007 (detail) © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery, London. Commissioned by Musée du Quai Branly for the exhibition ‘Jardin d’Amour’ 2007; Balloon Man, 2015 © Yinka Shonibare MBE. All Rights Reserved, DACS/Artimage 2018. Image courtesy Stephen Friedman Gallery, London and James Cohan Gallery, New York. Photo: Stephen White.