There is always a message in the medium. The designer Nifemi Marcus-Bello has recognized in the global design community for a practice in recent years, which is as strongly based on its expansive interior universe as on a refined and ecologically conscious selection of materials. (A typical example: his bamboo pavilion for the Sharjah Architecture Triennial 2023.)
The “TM Moon” in the aluminum from Marcus-Bllelle Oríkì series (Act II). The piece can act as a room divider.
Melted aluminum is poured into the mold for the “TM -Moon” in Lagos, Nigeria.
Marcus-Bello was born and bred and breeded in Lagos, Nigeria and was based on the centuries-old heritage in his country of artistic metal muthing and cultural affinity for innovations to create its series Oríkì. In three acts, Marcus-Bello started bronze, aluminum and copper, the last of which was shown in the Marta Gallery in Los Angeles at the beginning of this year. (He is shown from this exhibition at the top of one day.) “I thought about how Africa can play a role in the refinement of his own materials and the layers of conversations that can be conducted,” he says. “Not only from a material point of view, but also from a perspective of the Socio -Economic, cultural and identity -based points of view.”
A copper headrest from the Oríkì series (Act III).
The designer welds since the age of 14. “I don't see craftsmen as an outsider,” says Marcus-Bello. “Many of the welders I work with have known me since my child. I am approaching you with an idea and it will be a conversation.” They are a conversation institution, galleries and collectors are only too eager, as a recent MoMA acquisition shows. “I am interested in why of everything,” he says. “Things shouldn't exist to exist.” ◾
This story originally appeared in May 2025 edition of Elle Decor. Subscribe to