Adedolapo Boluwatife wants his photo series on plastic pollution to be as alarming as it is aesthetically pleasing

Growing up in the Ojodu area of Lagos, the photographer Adedolapo Boluwatife experienced flooding first hand, on many occasions. Upon doing some personal research into the cause of such instances of environmental disaster, Adedolapo found that one of the main causes was insufficient waste disposal, with plastic being the main “menace”. This discovery propelled Adedolapo into action, and he began collecting plastic waste in his area; but, before taking it to the recycling plant, Adedolapo had an idea. He would incorporate it into a new photo series, Invitation to Invade, using the vast quantities of waste to strike a necessary sense of alarm into his audience.

While dealing with very present, real issues, Adedolapo was intent on not moving away from his more conceptual, fine art approach. Steering clear of more typical climate photography – which often leans toward documentary and photojournalism – Adedolapo wanted to offer a new vision and perspective. “My aim is to create something that can be aesthetically appreciated and that’s also capable of converting a message, influencing the thoughts and concerns of the viewers,” Adedolapo says.

Adedolapo cites his interest in more conceptual forms of expression as being rooted in his youth. Growing up, he describes himself as introverted; “this tendency motivated me to explore different avenues like fine art, writing and calligraphy as alternative methods to express my deepest and vaguest thoughts,” he says. And while he and his brother experimented with his dads Lomomatic 110 pocket film camera as children, Adedolapo was only properly introduced to fine art photography after joining a photography club at Obafemi Awolowo University, where he was studying English Language and Literature. Being introduced to and in awe of photographers like Alfred Stieglitz, Man Ray and Rotimi Fani-Kayode, Adedolapo found himself gravitating further toward the medium. “I realised photography was the perfect medium to convey thoughts that couldn’t be effectively expressed through spoken words,” he says.

His interest in nature and its preservation, however, Adedolapo puts directly down to his family values – his mothers love of plants, for example, and his brother’s job as a forester. “My interest in eco-conscious photography then grew after the 2020 pandemic,” says Adedolapo. “Returning to my parents’ home, their garden became my sanctuary, revealing nature’s healing power and inspiring me to engage in meaningful conversations about environmental issues.”

The initial set of images were taken at a plastic collection site, while later sets were taken at constructed sets, once Adedolapo had decided what compositions were missing. Adedolapo’s brother Bankole and his friend Victor, were sitters and one key thing Adedolapo was intent on conveying was a sense that his models appear “lost” within the sea of waste. “The images portray the dominance of waste over humans, creating a sense of discomfort in the photographs,” he says. Despite having a clear message, Adedolapo also filled the series with symbols and metaphors, leaving elements open to interpretation. In one particularly striking image, of a model resting a bulging bag of plastic on his shoulder, it’s hard not to see parallels between the image and the Greek myth of Atlas – who is punished Zeus and made to carry the weight of the world on his shoulders for eternity – and the resonance this has with Adedolapo’s intention for the series.

As a fine art photographer, Adedolapo’s primary aim is to create something that’s visually dramatic, and here he has no issues. The series is striking; the warm hues and satisfying compositions come together to create an almost ethereal feeling. But then, what’s so clever, is once the pleasing effects of the images have settled, and the true reality of the plastic props comes to the fore, it’s hard not to feel a sense of dread, reaffirming how much we collectively need to do to ensure our planet survives.