Creative Currents With Bemistudi0
Issue 8.0 Mar. 2026
Interview Conducted by Olulana Mofiyinfoluwa & Chiagozie Mbuba
Design by Chiagozie Mbuba

Bemistudi0 exists at the intersection of what can be seen and what can only be felt. Trained in Law, International Relations, and Medical Law; disciplines built on precision, definition, and doctrine and she has turned her practice toward something altogether different: the moment before thought becomes language, before perception hardens into certainty. Her paintings don't explain the human condition; they dissolve it back into its raw materials. Vibrant figuration blurs into abstraction, figures emerge and recede, and somewhere in between, the viewer catches a glimpse of their own mind at work. This is not art made to be understood. It is art made to be experienced.

Q. Can you take us back to the moment you first realized visual art was something you wanted to pursue?

A. I don’t think it was a moment, more like an accumulation of moments. It was gradual and then it just was.

Q. Walk us through your creative process; from the first spark of an idea to the finished piece. What does that journey typically look like for you?

A. Different paintings come to me in different ways. It varies truly. Personally, I don’t over think the process. I think one of the most important elements of the creativity is time. Time to develop an idea until it takes life of its own.

Q. Your work often blends abstraction with human figures. How do you translate feelings or experiences into visual language?

A. I don’t think about translating anything when i paint. I think about what’s true and then paint that. Truth in conception, truth in emotion, truth in thought. Whatever kind of truth it is… that's what I paint

Q. What moulds perceived reality, and how can I paint that?" - is a deeply philosophical one. How did you arrive at this as the driving force behind your practice, and has your answer evolved over time?

A. I think my craft in itself has evolved over time. With my art, It’s always been important for me to paint beyond what meets the eye. I’m fascinated with the human mind and how we understand the world around us.

Q. Your work positions thought and perception as forces that intertwine and shape each other. When you're mid-painting, do you feel that process happening in real time or are you thinking through the work as you make it?

A. This is an interesting question. I believe the connection between thought and perception is impalpable. I don’t necessarily believe it’s something we can “feel” but it’s often observed in hindsight. Painting is a wonderful way to master the art of complex thinking. I couldn’t say that I think about one thing or the idea of trying to “ make art” when I paint… art isn’t about art. It’s about life, so naturally I have a series of thoughts.

Q. The human figure appears throughout your paintings, yet you're drawing viewers toward something intangible; the parts of humanity that resist simple definition. How do you decide when a figure has said enough?

A. It’s a balancing act. I try not to get in the way of what’s happening on my canvas. I let the work be. It’s vital to allow the create process.

Q. You hold degrees in Law international relations and Medical Law, disciplines that are deeply concerned with defining the human condition in precise terms. How does that training sit alongside a practice that deliberately explores what can't be defined?

A. It creates beautiful dimension. I understand thoughts have the capacity to influence doctrines while creating establishments. Thoughts form and shape our relations and theories. My work seeks to dissect the genesis of this, in a sense. I find that there's a lot of depth to it. In the most beautiful way.

Q. Your work has been described as sitting between vibrant figuration and abstraction. Is there a tension there you're working with, or is that interplay the point entirely?

A. Yeah I have deep appreciation for abstraction. I think it yields power that’s quite unique.

Q. Looking ahead, what new directions or ideas are you excited to explore in your artistic journey?

A. I guess we’ll see lol

After tracing her path from the courtrooms of theory to the quiet authority of the canvas, one thing becomes clear: Bemistudi0 is not chasing answers. She is sitting with the questions, and inviting you to do the same. The work is still unfolding; the next direction kept close, with a quiet confidence that what comes next will arrive exactly when it should. What molds perceived reality? Step inside the painting and find out.

Olulana Mofiyinfoluwa
For Solid Guy Magazine

The Boy Who Descends & Rises

"Yarden means 'to descend' in Hebrew — but since he chose music, it has done anything but decline."

60M+

STREAMS ON 'WETIN'

YEARS OLD

TRACKS ON DEBUT EP

2020

PROFESSIONAL DEBUT

THE ORIGIN

Built from Curiosity, Not a Classroom

Long before record deals and streaming milestones, there was a teenager in Lagos — teaching himself to produce music through YouTube tutorials and conquering social anxiety one playground rap battle at a time. Yarden'sstory is not one handed to him. It is one he stitched together, beat by beat, bar by bar.

That ingenuity — the ability to make a way where there seems to be none — would go on to become the defining thread of his artistic identity. More than a sound, more than a style, it is a posture: resilient, inventive, and unafraid.

"What defines his artistry is not just expression — it is the resilience and ingenuity to make a way for himself and for others when there seems to be none."

THE SOUND

Where Lagos Meets the Internet

Yarden's music lives at the intersection of two worlds. There are the Afrobeats rhythms that filled every family party he grew up attending — warm, familiar, deeply rooted in Lagos soil. And then there is the R&B, Soul and Hip-Hop he absorbed through years of self-directed listening online.

The result is not a genre experiment — it is an autobiography. Every sonic layer carries a memory, a reference, a version of himself at a different age.

AFROBEATSR&BSOULAFROPOP

His breakout single 'Wetin' became proof of concept for this fusion — now crossing 60 million streams and still climbing. It is a song that sounds both ancient and new, local and global: exactly the kind of duality that Nigerian music has been announcing to the world.

THE JOURNEY

Milestones on the Ascent

Early

Self-taught beginnings

Learns music production through YouTube. Overcomes social anxiety via playground rap battles in Lagos.

2020

Professional debut

First formal foray into the music industry — marking the official start of his career as a recording artist.

2022–

'Wetin' breaks out

Breakout single surpasses 60 million streams globally and continues growing, cementing his name in the Afrobeats conversation.

Dec '23

The One Who Descends — debut EP

Five-track debut EP blending Afrobeats, R&B, Soul and Rap. A statement of intent and a lifetime of music poured into one project.

Now

An ascending talent

At 23, Yarden stands as part of the exciting wave of Nigerian and African artists shaping music's global conversation — with community and collaboration at his core.

"Yarden brings to light music that has been a lifetime in the making — at the very start of his journey. The name may mean to descend, but the trajectory tells a different story entirely."

WORDS INSPIRED BY YARDEN'S OFFICIAL BIOGRAPHY

From The Studio To The Spotlight With Anabel Rose

Issue 7.0 Mar. 2026

Interview Conducted by Kolade Motirolaoluwa

Designed by Chiagozie Mbuba

Q. Can we get an insight into who Anabel Rose is?

A. My name is Anabel Rose, and I'm half Filipino and half Ghanaian. I categorize myself as an alternative pop artist because I love experimenting with the genres I grew up with—I don't like being boxed in. My music focuses on emotions and vulnerability, especially my own. I grew up in Ghana and have only been to the Philippines a few times.

Q. You are what a lot of people would call a young prodigy as you started singing at the age of 8. What would you say led you into the creative space?

A. I started singing at 8 because, as someone with Filipino roots, singing is just in our blood. I loved Celine Dion and all the classics as a child. I was already enrolled in guitar classes at a young age too. Although I was performing, I didn't really see myself heading into the creative space until I became an adult. My first dream was actually becoming a scientist.

Q. As an artist of two nationalities, do you think your growing up as a part of two cultures influenced your craft?

A. It definitely has. Growing up with two cultures in my house gave me an early appreciation for both, and that translated into me fusing a lot of different influences into my music. It also helped add depth to what I create.

Q. As an Alternative Pop Artist,what influenced your style of music?

A. I'd say it's just the music I grew up with and trying to stay true to all the things that shaped me. After coming back from school abroad, Afrobeats would have been an easy route to take, but it wouldn't have been me staying true to myself. I love experimenting with my music.

Q. You are set to release a new song titled “Imperfect Daughters”. The title of this song speaks volume,so would you like to share with us the inspiration behind this title?

A. I grew up with music always being in my life and with really supportive parents. But I was chasing the dream of being a scientist because of societal pressure—I needed to make people proud of me. I ended up figuring out that science wasn't for me, although I still pursued computer science. At that point, I had to make a choice between what I felt people wanted and what I actually wanted. The greatest battle I faced was an internal one between myself and my younger self. That's basically where the title came from.

Q. Your style of music as you have always said is to tell a story which I believe was done perfectly on this song. How did the inspiration for this song come about?

A. I wrote this song early last year. My producer sent me a guitar loop, and I immediately recorded a freestyle to it. I think that's what gave it such raw emotion, coupled with the fact that I was in a really volatile space after quitting my 9-to-5. I had so many emotions, and music was simply my only escape. That's where the song came from.

Q. Pieces of Artists are often found in their songs, the melody and the lyrics. Are there pieces of you in “Imperfect Daughters"?

A. Yes, "Imperfect Daughter" is more than just a piece of me, it's literally me opening myself up to people in a completely vulnerable state.

Q. The emotions on “Imperfect Daughters” was raw and heartfelt,even if I say so myself. After writing the song,how was your post recording phase? Were you extremely picky with the beats and all of that? And how did you come up with the finished masterpiece?

A. It was a pretty straightforward process. After the guitar loop was sent, we went to the studio, and I told the producer what I wanted and how I wanted it. So it wasn't really hard to bring my vision to life. From the demo to the final masterpiece was a lot of work, and I'm really excited to see how people receive it.

Q. To all the daughters out there who think they are not enough or think they are a disappointment but are looking forward to listening to Imperfect Daughters,do you have any words for them?

A. Yes, I'm already getting some traction from the snippet. What I would say to anyone is: always put yourself first and listen to that voice inside of you. Even if your dreams feel scary or like they're too much, just keep going.

Q. The cover art and rollout for “Imperfect Daughters” has been impeccable so far. How did you come about the idea for the cover art?

A. I knew the song needed to lean heavy on nostalgia since I'm telling my story. I usually like to do random things for my cover art, but this song felt so raw that I knew I needed to use an old picture of me. The cover is an old photo of my mother and I, and I think it really drives that nostalgic feeling. There's also brown paper in the design, which reminded me of childhood.

Q. Being an artist is hard. However being an indie artist is even harder. How do you cope with the everyday struggles and pressure of being an artist?

A. I think my team grounds me because I'm an overthinker who's always spiraling about the voices in my head. But I'm also the only one who truly knows myself and my journey, which is quite easy to forget. So I always remind myself who I am, and I'm always learning.

Q. You are an artist with an impeccable discography,an amazing talent but has there ever been times when you felt like giving up and how did you handle it?

A. Yes, I've definitely had those moments for different reasons. As an artist, you're playing a long game where the results might not show immediately. Quitting my job and other random thoughts get into my head. Although I don't necessarily think about giving up, I do wonder how to be smarter about my journey.

Q. Writing Imperfect Daughters, what was the hardest emotion to translate into this song?

A. The hardest emotion was acceptance. I don't think anyone ever gets a warning before becoming an adult—we're just plunged into it. So writing this song took me through a lot, but it eventually brought me to a point of acceptance and made me see it as a moment of triumph.

Getting out of my head to write. Most times in studio sessions, even when I have ideas, I often keep quiet. But I'm trying to get out of my head about that.

Q. If this song was a movie scene, what would it look like?

A. For "Imperfect Daughter," I've imagined it in coming-of-age movies—in those scenes where everything is going wrong, and then the song plays and the female lead gets that kick to pull her life together and be where she wants to be.

Q. What should your Fans and lovers be expecting from you in the future?

A. "Imperfect Daughter" is leading up to my second EP, which is coming out in the middle of the year, and I'm really excited about it. I'm also working towards my own show at the end of the year.

Over the course of three EPs and four albums, the 29-year-old Nigeria body rapper and singer has quietly built a body of work that charts his evolution. He has easily evolved into one of Nigeria’s most musical shapeshifters. - Clash Magazine

Nigerian rap provocateur Blaqbonez is turning the clock back to where it all began. On his new single “Hustle Kpa,” featuring Artsalghul, the Chocolate City star strips away the theatrics and revisits the raw hunger that powered his ascent from underground battler to one of Africa’s most dynamic hip-hop voices.

“Hustle Kpa” arrives as the lead single from the forthcoming No Excuses (Deluxe), scheduled for release later this month, extending the narrative of Blaqbonez’s fifth studio album No Excuses, which dropped in October 2025 and has already crossed 100 million cumulative streams across digital platforms. The original project delivered standout records like “ACL” and “Despacito” featuring FOLA, both of which individually surpassed 10 million streams, reinforcing the album’s commercial and cultural impact.

But while "No Excuses" celebrated the results of Blaqbonez’s relentless ambition, “Hustle Kpa” focuses on the grind that made it possible.
Over a hard-edged, streetwise production, Blaqbonez raps with the urgency of someone who still remembers every sleepless night and every dismissed dream. The record channels the spirit of his formative years — when he was sharpening his pen in Nigeria’s battle rap circuit, freestyling relentlessly, and pushing his music through sheer willpower. Artsalghul complements the record’s ethos with a performance that underscores the song’s central theme: the unglamorous labour behind success.

It’s a reflective but triumphant moment for an artist whose career has been defined by reinvention. Born Akumefule Chukwuemeka George, Blaqbonez began rapping at 13 and first gained traction while studying at Obafemi Awolowo University, where his freestyle culture and online presence built a cult following. His early dominance in Nigeria’s battle rap scene — including winning Terry The Rapman’s Zombie competition and the Hennessy VS Class of 2015 — signaled the arrival of a formidable lyricist.

His trajectory accelerated after signing with Chocolate City Music’s 100 Crowns imprint, where he released “Bad Boy Blaq,” a project that debuted at #1 on the iTunes Nigeria Hip-Hop chart and marked the beginning of a prolific run. Over the years, Blaqbonez has continued to expand his sonic universe across projects like Sex Over Love, Young Preacher, and Emeka Must Shine, blending hip-hop, Afrobeats, drill, and alternative influences while cultivating a reputation as one of the continent’s most inventive personalities.

By the time No Excuses arrived in 2025, Blaqbonez had already become more than a rapper — he was a cultural strategist, an internet-savvy provocateur, and arguably one of the most visible champions of African hip-hop’s modern evolution.
With “Hustle Kpa,” he reminds listeners that before the accolades, endorsements, sold-out shows, and viral moments, there was simply the work.

Through his lens JPEGBYPRINCE is doing more than capturing moments - he is chronicling the evolution of youth culture. A student of the game. The young king of youth culture documentation. His photography sits at the intersection of music, nightlife, fashion, and youth expression, creating a visual diary of what Nigerian youth culture looks and feels like in real time.

The images reveal a culture that is loud, expressive and unapologetically alive. On stage, artists stand bathed in intense reds and electric blues, controlling crowds and transforming performances into cinematic spectacles. These are not just concert photos; they are portraits of a movement. The sweat, the stage lights, the gestures into the microphone - every frame preserves the raw energy that defines the current era of Nigerian music.

In these scenes, the artist becomes more than a performer. They are symbols of ambition and possibility for a generation that sees music as both expression and escape. Jpegbyprince's compositions frame them as larger-than-life figures, silhouetted against dramatic lighting and immersive stage design. The result is imagery that reflects how deeply music is embedded in youth identity today.

But his work doesn't stop at the stage. Turning his camera towards nightlife spaces, dance floors, and intimate cultural moments, he captures the environments where youth culture breathes. The neon glow of club signage, the crowded dance floors, and the DJ controlling the atmosphere all speak to a vibrant ecosystem surrounding Nigerian music - one where community and youth culture thrives.

What makes Jpegbyprince's work particularly significant is timing. Nigeria's music industry is expanding globally, and the culture around it is evolving rapidly. His photographs act as visual evidence of this transformation. Years from now, these images will not simply be seen as event photography; they will serve as historical records of a generation that helped push Nigerian music into a new global era.

In documenting these spaces - the stages, the raves, the crowds and the artistes - Jpegbyprince is quietly shaping the visual memory of Nigerian youth culture. His work captures the spirit of a scene that is still unfolding, ensuring that the energy, style and ambition of this moment are preserved long after this era fades.

CREDITS

Written by: Mofiyinfoluwa Olulana

Images 2,3,4,5 : JPEGBYPRINCE

CREATIVE CURRENTS WITH QUADRI MORIN (QUADMOR)

ISSUE 7.0 Feb. 2026

Interview Conducted By Olulana Mofiyinfoluwa

Designed by Chiagozie Mbuba

ORIGIN & CREATIVE IDENTITY

Q. In a world where noise often overshadows intention, you choose focus. What influences the stories you tell visually?

A. My visual stories are influenced by real-life experiences and moments of quiet reflection; the internal conversations people rarely express but constantly live with. I have experienced and observed the tension between who we are expected to be and who we are becoming. Decluttering has also become my way of resetting, so visually I am always asking; what truly matters here, and what can be stripped away without losing meaning?

Q. How would you describe your creative journey so far, and what experiences have shaped your voice as a digital artist?

A. My creative journey started as a form of expression for my inner dialogues. These dialogues push me to listen deeply and observe behaviors and patterns around me, while trying to understand the context behind them. Over time, art became the space where I could explore these questions without needing clear answers. Living and working across different creative disciplines has also helped shape a voice that is both reflective and intentional.

RESTACKING THE ODDS – THE CONCEPT

Q. Why was this the right time to tell this story through an exhibition?

A. Honestly, the right time to start this conversation was many years ago. But for this exhibition, it felt right because I realized that self-empowerment is not something that is done and dusted; it is something we return to every day. I wanted people to recognize and appreciate that reality in their own lives. Many people are silently renegotiating their lives; redefining success, healing from setbacks, and questioning narratives they once accepted. My exhibition allows for pause. Unlike fast digital consumption, it invites people to stand with discomfort and possibility. Restacking The Odds needed physical space because the conversation it starts is internal, slow, and reflective.

Q. What emotional or psychological states were you exploring while creating these pieces?

A. I was exploring uncertainty, self-doubt, and quiet determination. There was a recurring tension between exhaustion and hope; between destinations and starting points. Many of the pieces emerged from moments where I felt stuck, yet aware that staying still was also a choice. Psychologically, the work reflects the process of reframing situations as motivation rather than failure.

Q. Walk us through your creative process; from idea to final piece.
A. The process usually begins visually. Emotions create a mental image in my head, and I reflect on the question that image might be answering. I sketch loosely and sit with the idea until it fully forms. From there, I experiment visually with characters, line work, and color. The final stage is about restraint; knowing when to stop, when the piece has said enough without over-explaining itself.

SELF-EMPOWERMENT & RESILIENCE

Q. Have you had moments where you had to “restack the odds” in your own life?

A. Oh yes, many times; often in subtle ways rather than dramatic ones. Restacking the odds has meant choosing what I believe in over what I was taught to believe, redefining success on my own terms, and continuing to show up creatively even when outcomes were uncertain. It is less about winning and more about showing up honestly.

Q. What does “reclaiming your story” look like in today’s world?

A. Reclaiming your story today means disengaging from constant comparison and external metrics. It means deciding who gets to define your worth. In a world that rewards performance, reclaiming your story is choosing presence, self-awareness, and authorship over approval.

DESIGN, STORYTELLING & PROCESS

Q. Are there specific visual elements or motifs we’ll see repeatedly in this exhibition?

A. Yes. You will see repetition through fragmented forms, and occasionally polka dot motifs. These elements reflect disruption, emotion, and movement. Nothing is accidental; each repetition reinforces the idea that growth is not linear, but iterative.

IDENTITY & EMOTIONAL TRUTH

Q. What conversations do you hope Restacking The Odds sparks around self-awareness and inner growth?

A. I hope it sparks conversations about personal accountability without self-blame. About recognizing patterns, unlearning inherited narratives, and creating space for emotional honesty. The work invites viewers to ask themselves; where am I still playing by rules that no longer serve me?

Q. Is there a particular piece in the exhibition that holds the most personal meaning for you?

A. Yes. There is one piece that emerged during a period of deep uncertainty. It represents a turning point; not because everything became clear, but because I chose to continue without clarity. That decision changed how I approach both art and life.

THE EXPERIENCE

Q. What should visitors expect to feel when they walk into the exhibition space?

A. Visitors should expect a sense of stillness, reflection, and quiet confrontation. The space is designed to slow you down. Ideally, people leave feeling seen rather than instructed; challenged but not judged.

IMPACT & LEGACY

Q. What does success look like for you beyond numbers and recognition?

A. Success looks like resonance. When someone recognizes themselves in the work and feels less alone in their internal struggles. It is about depth over reach; impact over applause.

Q. How do you hope your art empowers others navigating their identity?

A. I hope the work reminds people that identity is not fixed, except for biological identity. It is permissible to evolve, to question, and to start again. Empowerment comes from realizing you are allowed to choose to redefine yourself at any point.

Q. What message do you want people to leave with after experiencing your work?

A. That setbacks are not verdicts and Life is always about choosing. Not choosing to take control of your life and destiny is also a choice to not be in control of your life and destiny. That sort of awareness is power. And that restacking the odds often begins with an internal decision long before any external change appears.

LOOKING FORWARD

Q. How has Restacking The Odds changed you as an artist and as a person?

A. It has made me more honest. I am less concerned with perfection and more committed to truth and expression. As a person, it has reinforced the importance of patience; trusting the process both creatively and personally.

Q. Where do you see your creative journey evolving in the next few years?

A. I see my practice expanding across mediums; combining art, design, and storytelling in more immersive ways. Restacking The Odds also has a documentary coming up. This came from questions that could not sit on the wall with the art; questions that needed real people and real stories to make a deeper impact. I am interested in building experiences that live beyond galleries; spaces where reflection, community, and growth intersect.