O.O.
I know that you had an art practice as a child. Tell us about it. 

O.O.
As a child, I used to write stories based on novels I had read. It began with Enid Blyton books, which I loved for many years. I would write about children going on adventures on their own and traveling through thick forests - forests where it was always nighttime - because when I imagined these settings for my work, the nighttime forest just seemed so much more mystical and festive.

O.O.
How do you negotiate limits in your art practice? 

O.O.
Well, I think sometimes, the best way to tackle or confront a limit, ironically, is to surrender, right? To let go. And often that can mean time. Just waiting for circumstances to change either internally or externally. It's not always the right thing to do, but sometimes it is the right thing just to wait.
Let me give an example. There have been periods in my life when I have felt unequal to the types of work that I really want to produce. Not art objects that I wanted to produce just for the sake of having produced them, or for the sake of being able to say to myself that I've produced them. I'm talking about a situation that I think is common to artists where the expression that you want to make isn't or doesn't yet feel possible because you are missing some part of the technique or you're not as advanced as you want to be in a particular area of your craft, and some learning is required before you're actually going to be able to scratch the itch.
I don't know what it's like for artists who work in other mediums, but my experience as a writer has been that you can't force yourself to become better at saying what you mean. It's just incontrovertible. The only way to become better at saying what you mean, from my perspective, is to become different. And only way to become different is to live long enough to become different! You just have to live your life and experience or undergo change. And it doesn't mean that you don't also practice. But, you know, practice is just part of living. 

O.O.
What materials are most exciting to you right now? 

O.O.
Right now, I think HTML and CSS are probably the most exciting materials. I have been working with websites for a long time. In January, I started to do it professionally, making websites for artists and critics and writers and their projects. And making this website [Static Artist Interviews] to host, hopefully one day, a large collection of ideas and advice and reflections about our life's work. 

O.O.
Can you talk about the themes of some of your current work? 


O.O.
I think I just articulated one of those themes, or at least a function of some of the work that I'm doing. But I'm also writing periodically - working on a collection of short stories. Actually, editing together short stories that I have written over the past six or seven years. And I would say the themes of all of those short stories - the updated versions that I'm composing today - is... And this feels like a little bit of an inelegant way of putting it, but writing from life. It's a...complex theme, because it also speaks to the way that I'm writing. 
I'm doing it in the time that I can spare from trying to earn a living, and, in many ways, what I'm writing about is the emotional experience of trying to earn a living.


This interview was conducted on March 2nd, 2026 & edited by Oritsemughone Ogbemi on the same day. She interviewed herself, and so can you. (Highlights selected by Tobe Otuogbodor.)