Hot SourceYinka Olatunbosun
Nigerian-born visual artist and a member of the Enfield Art Circle (founded in 1932), Hillary Emetuche has etched his footprints on the London Art scene when he joined a list of 37 artists to showcase five of his striking hyperrealist works at the just-concluded annual exhibition held at Capel Manor Gardens, Enfield, London from August 2nd to 17th, 2025.
Expectedly, the exhibition, organised by one of London’s oldest art organisations, featured works from established and emerging artists. Hillary’s collection, rooted in hyperrealism, drew notable attention for its vivid storytelling that’s anchored on identity, culture, and personalities.
“My portraits target individual personalities because I believe that everyone is unique and different in their own valuable way telling a story of personal gifts and potential. I also capture the story of identity, belief systems and history,” the artist remarked, retrospectively.
Among the five exhibited pieces was ‘Drawing of Ezinne,’ a drawing that became a highlight of the exhibition. Visitors and curators alike were drawn to its emotional resonance and technical mastery, with accolades for its verisimilitude and spirit.
Other portraits explored the personalities of public figures like Harry Kane and Ronaldo (Father and Daughter) capturing their individual potentials, and how they were able to harness them to greatness. Hillary’s signature style — marked by meticulous detail and expressive depth — offered viewers a reflective engagement with contemporary African narratives in a global setting.
27, a personal portrait of Hillary explores the environment and mindset. The masterpiece tells a personal story of migration and mindset shift as Emetuche finds himself in a new culture and environment where he has to learn and unlearn to fit in and also to be a better version of himself, drawing from within his true potential.
A drawing titled ‘Fusillade,’ shows a young soldier carrying chains of bullets tells a story of the horrors of the Biafran war. Emetuche explores this piece as a retrospective of the Biafran Civil War. It has been dedicated to Gilles Caron; a French photographer who captured the guerrilla soldiers in 1968. Emetuche asks the rhetorical questions, inquisitively: Who knows whether the soldiers are dead or still alive? Probably, these bullets may have been turned into hot fusillades and might have riddled the skin of the adversary? Interestingly, what was behind the stern look of the soldier behind?
Adding to the significance of the moment, international multi-award-winning artist Kelvin Okafor, himself a leading figure in the hyperrealist movement, attended the exhibition and personally viewed Hillary’s works. Impressed by their execution, Okafor offered curatorial advice and guidance on navigating the professional art world, affirming Hillary’s growing presence in the global art space.
Emetuche’s exhibition in London underscores the increasing visibility of Nigerian artists on the world stage. Through hyperrealism, he continues to celebrate African identity while contributing to global conversations in contemporary art.
As the Enfield Art Circle continues its tradition of showcasing the power of art, Emetuche’s participation not only adds to the cultural dialogue in London but also affirms his place as one of the Nigerian creatives shaping international artistic narratives.
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