In the 21st century, Afrofuturism has found ground in Africa, particularly in Nigeria. Nigerian literary figures like Nnedi Okorafor and Tomi Adeyemi have explored Afro-fantasy themes through their works. While its impact on other creative fields has been notable, Afrofuturism’s influence on Nigerian art has been nothing short of transformative.

The emergence of digital mediums of art has revolutionized the global art industry, offering Nigerian creators boundless opportunities to showcase their craft. By bypassing traditional gatekeepers, artists can directly connect with audiences while retaining their freedom of expression. This technological shift has been particularly impactful in Nigeria, aligning seamlessly with Afrofuturism’s core themes of technology, identity, and reimagined futures. Through digital mediums, Nigerian artists are creating futuristic works that challenge traditional stereotypes and redefine notions of African art.

This digital revolution has empowered Nigerian creators to experiment boldly with Afrofuturist themes in ways previously unattainable. Award-winning multidisciplinary artist Niyi Okeowo, known for his unorthodox approach to modern artistic expression, believes his work serves as a bridge to his ancestry. This connection is evident in his creations, particularly album covers for renowned Afrobeats artists like Fireboy and Rema. Okeowo’s introduction to Afrofuturism was shaped by his fascination with sci-fi movies, which inspired him to merge African elements into futuristic narratives. “A lot of my style is shaped by the observation of the world, my culture, and history. There’s so much symbolism and visual iconography inspired by our ancestors, and I’m trying to spotlight that through my work,” he says. In Nigeria, where modernization coexists with deep-rooted traditions, this duality becomes a significant source of creative fuel. By integrating ancestral symbols and stories with contemporary observations, Afrofuturist creators construct narratives that feel authentic while pushing the boundaries of imagination.

Some argue that Afrofuturism and realism must coexist for the movement to grow and remain relevant. While Afrofuturism thrives on speculative and imaginative narratives, realism ensures its visions remain grounded in the lived experiences and immediate challenges faced by African societies today. 3D and motion designer Valentine Onwundijo echoes this sentiment, recalling how the Black Panther film introduced him to Afro-inspired architecture and technology. “Seeing that style of architecture and technology in the film shaped my school projects at the University of Benin and introduced me to creatives like Kenyan photographer, Osborne Macharia and architects like Francis Kere and Zaha Hadid. Afrofuturism, in my opinion, interprets contemporary African traditions practically, encouraging authenticity and originality in Nigerian art. There’s a need for that practicality to exist.”

The integration of Afrofuturism and realism is an opportunity to bridge the gap between speculative creativity and practical application. While Afrofuturism presents bold visions of advanced African societies and technologies, realism ensures these ideas remain relevant to contemporary realities, especially in creative industries like Nigeria. By grounding futuristic ideas in the struggles and aspirations of everyday people, Afrofuturist art becomes more than storytelling — into a medium for practical change, redefining architecture, fashion, and technology..

The future of Afrofuturism in Nigerian art holds immense promise as it continues to shape the path of innovation and storytelling. This movement’s influence will grow as the next generation of Nigerian artists builds on the current blueprint to express through their craft and redefine what it means to be African in a globalized world. However, this future is not without its challenges. A significant obstacle is the lack of access to advanced technical education and tools. As Onwundijo notes, “The complexity of creating high-quality 3D art, motion design, and other technologically driven forms of expression often requires specialized training and resources that many Nigerian artists cannot readily access.” This skill gap forces many to rely on self-teaching, slowing progress and limiting their creative visions.

Another challenge is the need for greater understanding of Afrofuturism’s diversity. Many audiences, both local and global, still view Afrofuturism through a monolithic lens, rather than appreciating its broad spectrum. This misunderstanding risks restricting artists’ creative freedom and fostering reductive narratives. Art, after all, is not a destination but a journey—open to endless interpretations by creatives with diverse perspectives. To confine Afrofuturism to a single pattern would undermine its essence, which lies in adaptability and the freedom it offers to redefine African culture and identity in limitless ways.