At just twenty-four years old, Olaolu Akeredolu-Ale—known simply as Slawn—has achieved what most artists only dream of in a lifetime. This London-based Nigerian creative has transformed from a Lagos skate shop enthusiast into one of the most electrifying voices in contemporary art, making history in 2023 as the youngest person ever to design the British Royal Mint’s iconic Britannia coin. For the Nigerian diaspora, Slawn represents a new generation redefining what it means to be globally Nigerian.
Born in Lagos on October 24, 2000, Slawn’s artistic journey began not in prestigious galleries but in the vibrant, rebellious world of Nigeria’s pioneering skate shop, Wafflesncream. This unconventional foundation shaped his distinct aesthetic—a bold fusion of street art, Abstract Expressionism, and pop culture that refuses to be confined by traditional boundaries. He co-founded the apparel collective Motherlan, channeling his Yoruba heritage and Nigerian identity into wearable art that resonated across continents.
But it was during London’s 2020 lockdown that Slawn’s true calling crystallized. Isolated yet inspired, he picked up spray paint and transformed canvases into powerful statements on race, identity, politics, and transatlantic Black culture. His self-described “scam artist” persona—playful yet provocative—uses cartoon-like figures and vivid colors to create works that are deceptively simple on the surface but tackle profoundly complex societal issues beneath.
The art world took notice immediately. His first exhibition at London’s Truman Brewery in 2021 announced the arrival of a singular talent. Today, his collectors read like a who’s who of global culture: ASAP Rocky, Tremaine Emory, and Skepta all treasure his work. Prestigious galleries from Saatchi Yates to Efie Gallery showcase his pieces, while Sotheby’s has featured his work in their African Modern and Contemporary Art category.
What makes Slawn’s ascent remarkable is how unapologetically Nigerian it remains. His canvases pulse with Yoruba symbolism, traditional beliefs, and cultural references that connect Lagos to London to New York. He doesn’t dilute his heritage for Western audiences; instead, he centers it, forcing global art markets to engage with Nigerian narratives on his terms.
For young Nigerians in the diaspora navigating identity across continents, Slawn offers a masterclass in authenticity. He proves that you don’t have to choose between worlds—you can create a third space where Yoruba cosmology meets urban London, where skate culture converges with high art, where being Nigerian is not a footnote but the headline.
At twenty-four, with a Royal Mint commission already under his belt and major galleries clamoring for his work, Slawn is just beginning. His story reminds us that the Nigerian diaspora isn’t just participating in global culture—we’re redefining it, one bold brushstroke at a time.