Welded wonders

My metal sculptures are a protest against environmental decay,” says Dotun Popoola, whose art is rooted in the use of discarded materials like motorcycle tanks, brake pads, car struts, bolts, nuts, and electric generator parts. “They serve as a call to repurpose and upcycle the vast amounts of trash that endanger the earth. I give new, meaningful life to discarded materials. I feel like I am playing an important role in saving the environment through my art.”

Born in April 1981 in Agege, Lagos State, Nigeria, Popoola’s journey into waste exploration began in his childhood when he crafted cars from used milk tins, tomato cans and toothpaste boxes. He also built sandcastles and shaped birds, aeroplanes, and ships from waste paper. “My childhood curiosity to create something new has always nudged me towards art, not just as a passion but also as a profession.”  

As he grew up, Popoola’s school notebooks became sketchpads. His parents recognised his artistic talent at an early age and nurtured it. “They noticed my enthusiasm, restlessness, and consistency. My potential and passion for art were inherited from my mum, a lithographer with a printing press in Lagos, and from my dad, an automobile engineer, who influenced my tendency for hybrid sculpture.”

Popoola studied at Obafemi Awolowo University, where he earned both a Bachelor’s and Master of Arts degrees in sculpture and painting in 2010 and 2014, respectively. A turning moment in his life occurred when he stumbled upon the works of American sculptor John Lopez while browsing the web. He was instantly drawn to Lopez’s technical mastery and use of scraps for constructing his western and rodeo-themed sculptures.

Meeting the mentor

Driven by his desire to connect with Lopez, Popoola sent an email that received a prompt response. But meeting Lopez in Lemmon, South Dakota, and learning from him firsthand was a big challenge. In April 2015, Popoola sold his car and purchased a ticket to New York City. After spending an exhausting three days that included sleeping at bus stations, he finally arrived in South Dakota and met his idol. “It was an encounter of a willing master/mentor and an enthusiastic apprentice/mentee. My exposure to John Lopez’s art, studio and community offered me a rare opportunity to fulfil my dreams, and to be groomed in the art of hybrid sculpture with adequate technology.”

After a year-long residency in Lemmon, Popoola returned to Nigeria. With great enthusiasm, he began scavenging for scraps at junkyards and waste outlets. While his father’s mechanic workshop provided the initial piles of scrap materials, he soon explored junkyards in Lagos, Ogun, and other cities to gather materials for his sculptures. His early experiments involved using automobile parts and kitchen utensils. In addition to collecting scrap, he also engaged in various processes such as cutting, beating, welding, grinding, spraying, sandblasting, and burnishing, all of which contributed to the making of his innovative and captivating sculptures.

Popoola’s first series of sculptures, displayed in a solo exhibition, was a sell-out. Building on the momentum, he went on to hold solo exhibitions, besides participating in various group exhibitions. He represented Nigeria at several international events, including the Metal Art shows in Qatar (2019 and 2024), the Global Art Festival in Gujarat, India (2020), and the Coexistence exhibition in Türkiye (2021). His hybrid sculptures took centre stage at the Nigerian pavilion at Expo 2020 in Dubai. His monumental sculptures and large frescoes have since been exhibited not only in Nigeria but also in the United States, India, Türkiye, Qatar, and Dubai. His work has appeared in over 50 publications and on TV stations, including the New York Times, Washington Post, BBC Africa, and Al Jazeera.

Power of eco-art

Popoola’s dynamic, life-size sculptures, with their distinct colour shading, have captivated both art connoisseurs and common viewers. Critics have recognised his mastery in sculpting a wide variety of animals, humans, and birds; his boundless imagination; and the cross-cultural elements in his work that reflect a connection to nature and humanity. His ability to provide valuable insights into issues like environmental sustainability has been widely recognised.  

“Popoola’s synergetic approach to art making, the cultural and symbolic depth of his themes, his engagement with traditional styles and techniques, and environmental awareness regarding waste management through art, constitute the key aspects of his aesthetic exploration,” explains art historian Olusegun Fajuyigbe.  

Popool believes his art illustrates how life can be revived after decay. His artistic approach aligns with a personal belief that art should be a catalyst for change, a tool for examining our socio-cultural landscape, a means of reengineering, and a form of protest against environmental degradation. In a TEDx talk, Dotun highlighted the pressing issue of metal waste and the transformative power of eco-art. Elaborating on the four R’s of recycling—Reduce, Reuse, Recycle, and Recover—he underscored their importance in tackling metal waste.

Besides being a busy artist, Popoola facilitates art workshops for students, professionals, NGOs, healthcare institutions, hospices, orphanages, rehabilitation centres, and schools locally and internationally. He also provides mentoring opportunities for professional development for local and international artists in his studio in southwest Nigeria.