Aisha Seriki: Sculpting a path with the JM Finn Graduate Artist Award 

London-based Nigerian artist and Royal College of Art Photography graduate, Aisha Seriki, was the inaugural winner of the JM Finn Graduate Artist Award at Affordable Art Fair, Battersea Autumn 2023.  

This bursary is designed to support an outstanding emerging artist with studio costs, addressing one of the biggest challenges faced by creatives starting out today. Selected by a panel of judges from Affordable Art Fair and JM Finn, Aisha was chosen from six featured artists for her remarkable talent, skill, and dedication to her craft. One year later, we caught up with Aisha to see how her work has developed and how the bursary has impacted her practice.  

“Winning the award early on in my practice gave me the confidence to keep going”

How have you used the funding from the JM Finn Bursary over the last year? 

“The main way I’ve used the funding is to get my studio. Coming out of university, I knew I needed a studio, but it wasn’t my first priority because of financial reasons. I was just graduating and moving into a more sculptural practice, so I couldn’t continue working from home. Winning the award early on in my practice gave me the confidence to keep going. Having a dedicated space has been great—it allows me to experiment, and it’s a peaceful environment away from home. It’s been really influential in helping me develop new work. I sit in my corner, create, and it feels like the right place to be. Having this space and knowing I won the prize motivates me to keep moving forward.”

What has the grant helped you achieve during the year since you received it? 

“I’ve achieved quite a few things. It really helped while I was developing new work for my solo exhibition. I spent a lot of time in the studio planning and preparing for that. Having a larger computer here has also been helpful—it’s great to have two screens where I can see and work on different aspects of my projects. I mostly use the studio at the start of my process, but now that I’m working with more materials, I’m setting up a tool-working station in the messy area. It’s been a productive year.”

“The grant made me realise I need to be more intentional with my work.”

What difference has receiving the investment at an early stage in your career made? 

“It’s been really impactful. I think, as a person, I can be slow to act on things I need for myself and my practice. The grant made me realise I need to be more intentional with my work. Having the funding to secure a studio space felt like it was meant to be—it affirmed that I’m on the right path. Without it, getting a studio would’ve been something I kept putting off, and it might have taken much longer. Now, having the space makes me feel like I can’t go back, so I just keep building and moving forward.”

What’s been the most exciting moment for you in 2024? 

“That’s a tough question because I’ve had so many wins this year, but I’d definitely say the V&A award [In May 2024, Aisha won the V&A Parasol Foundation Prize for Women in Photography] I love the V&A—I am such a fan, I study there a lot, visit the library, and love discovering new pieces in their collection. When I found out I won the prize, I was in shock. It didn’t feel real, but it was an amazing experience working with great people to make the show happen. I learned a lot, met incredible people, and it felt like one of those moments where I thought, ‘Wow, I did something good here.’

I am really proud of the programming that I organised for my solo show. Having people interact with the space beyond just my photography was really cool. The conversations we had were so meaningful—it felt great to be able to create that experience.”

Can you tell us more about the solo show and its theme? 

“Sure! My solo show was called Orí Inú, and it built on what I did for my degree show. After the fair, I thought about how I could develop the pieces further, so I shot more photographs in the series and made more bronze combs.

One of them is here with me now, and I became more interested in the audience’s gaze. There are discrete photos within the combs, to encourage a slow viewing of the work.”

“I’m experimenting a lot more with materials and realising that’s who I am as an artist.”

“My practice has definitely shifted more towards sculpture. I’m experimenting a lot more with materials and realising that’s who I am as an artist. One of the bronze combs I made this year helped me come to terms with the fact that the photograph didn’t need to be central to the piece. I’ve been thinking more broadly about what the image represents, rather than being tied to traditional photography. So, my work has become more sculptural. 

I’m also getting more interested in 3D and design spaces, which I wasn’t really into before. I’ve been having discussions with artists who work with AR and 3D modelling, and I recently designed my first wood piece using [the 3D modelling application] Rhino and the CNC [computer numerical control] machine. So, maybe I’ll continue to explore that more. We’ll see. There are definitely different lanes I’m exploring.”

Can you tell us more about the concept behind your work and what you want people to take away from it? 

“The main thing I want people to take away from my work is that nothing is as it seems. I’m really concerned with the gaze and how we view art, especially how the Black body has been portrayed in art and history, often being fit into one box. My work challenges those perspectives. If I can make the audience think a material is something else, that’s a win for me—it shows that our preconceived ideas can be challenged. 

I also use symbols in my work, but I want people to interpret them in their own way. It’s important for me that the audience brings their own meaning to the work, rather than me telling them what a symbol represents. My practice is also deeply rooted in photography’s history, which I can’t separate from anything I do.

I’m particularly interested in the Victorian era, especially spiritualist photography. That time period had significant meaning for different parts of the world, including Britain and Africa. My work bridges my identity as a Yoruba woman and my experience living in the UK. It’s about bringing those two sides together.”

What are your plans for 2025? What’s next for you? 

“I’ve got a few shows coming up, which I’m really excited about. For the next year, I’d like to take some time to reflect on the fantastic year I’ve had and apply for additional funding to further develop the sculptural aspects of my practice. I’m also considering applying for a PhD, hopefully starting in 2025. Additionally, I’ll be traveling quite a bit, and I’m interested in exploring more about spirituality, but from a perspective that considers the Earth as a collective body. I’m hoping this will inspire some new work that responds to environmental themes. We’ll see how it unfolds!”

JM Finn are proud to invest in talented artist like Aisha who are at the outset of their careers. To find how they could also help you start your investment journey, visit www.jmfinn.com.

The JM Finn Graduate Artist Award returns to Affordable Art Fair, Battersea Autumn, 16 – 20 October. Book your tickets here to see this year’s graduate showcase; a selection of fine art illustrators, photographers, painters and visual artists graduating from across the UK.