Nigeria’s creative economy, celebrated for its global cultural exports like Nollywood, Afrobeats, and a thriving visual arts scene, is under scrutiny as young artists grapple with sustainability. While the sector has expanded, creatives such as Kelly Imhanlahimi, a graphic designer with a decade-long practice, and Imafidon Evans, founder of Mountorama Studios, reveal a fragmented reality where growth coexists with systemic pressures. The question remains: can Nigeria’s creative industry provide stable careers for its next generation of artists?
Both Imhanlahimi and Evans acknowledge the sector’s expansion but emphasize its uneven development. Imhanlahimi, who began his career in 2019 charging 1,500 naira per design, now commands 15,000 naira, a trajectory he attributes to client growth. However, he notes a decline in long-term design contracts, as businesses increasingly rely on AI for social media content and basic branding. “Clients now prioritize cost over continuity,” he said, highlighting the erosion of traditional retainer models that once supported sustainable careers.
Evans, whose studio specializes in illustration and children’s media, faces similar challenges. He reports that clients often commission AI-generated art before requesting human replication, citing legal ownership concerns. “AI images lack copyright protection, forcing clients to seek human creators for brand assets,” he explained. Despite this, Evans’ studio relies on international clients, as local purchasing power struggles to match project costs. A single illustration commission averages 30,000 naira, while Nigeria’s minimum wage stands at 70,000 naira—a disparity that limits domestic opportunities.
The financial strain is compounded by the sector’s reliance on global markets. Imhanlahimi noted that many of his clients are based abroad, a trend Evans corroborates. “Talent exists here, but demand often follows capital,” Evans said. This dynamic creates a paradox: while Nigeria produces skilled creatives, economic constraints push them toward international audiences, leaving local markets underserved.
Despite these hurdles, both artists emphasize resilience rooted in passion and adaptability. Imhanlahimi credits his growth to incremental client relationships, though he admits to burnout from juggling multiple roles. Evans, meanwhile, highlights the importance of flexibility, noting that his studio’s focus has shifted from pure design to narrative-driven illustration. “We’ve had to evolve,” he said, adding that collaboration within the creative community helps manage workload. “We share projects when needed, creating a safety net.”
The artists’ work reflects the sector’s duality. Imhanlahimi’s portfolio includes fast-turnaround commercial designs, such as a fashion campaign blending Ankara prints with luxury branding, and a playful “Month of Love” pet post. Evans’ illustrations, like the Titi the Turtle book cover, showcase narrative depth, with intricate textures and storytelling elements. These examples underscore the industry’s split between commercial efficiency and artistic longevity.
For Imhanlahimi and Evans, success hinges on adaptability. Imhanlahimi advises young creatives to “grow with clients rather than wait for a single break,” while Evans stresses the importance of embracing evolving skill sets. Both point to legal and cultural advantages that AI cannot replicate, such as copyright protection and localized storytelling. “The market values craftsmanship and specificity,” Evans said, “and that’s where humans still lead.”
The path is not without sacrifice. Imhanlahimi’s journey involved navigating burnout, while Evans acknowledges the studio’s reliance on international demand. Yet, they remain optimistic. “It’s not easy, but it’s possible,” Imhanlahimi said. For Nigeria’s creative sector, the challenge lies in bridging the gap between talent, economic reality, and global opportunities—ensuring that young artists can thrive without leaving the country.
The creative economy’s future depends on addressing systemic issues, including wage disparities and AI’s disruptive role. As Imhanlahimi and Evans demonstrate, resilience and innovation can carve pathways for sustainability. However, without broader support—such as localized investment and policy reforms—the sector risks perpetuating a cycle where talent is exported rather than nurtured at home.
The conversation highlights a broader truth: Nigeria’s creative industry is a microcosm of global challenges, where technology, economics, and artistry intersect. For young artists, the lesson is clear—adaptability, community, and a focus on unique strengths may be the keys to survival in an evolving landscape.
The insights from Imhanlahimi and Evans offer a roadmap for navigating the sector’s complexities. Their experiences underscore the need for systemic change, but also affirm that, with perseverance, Nigeria’s creative economy can still provide viable careers for its next generation of artists.