Ken Nwadiogbu is a multidisciplinary artist based in London, and this month’s featured artist for our Inside the Sketchbook series. Here, Ken explains the different approaches he takes with his sketchbooks, how group drawing sessions inspire his practice, and why charcoal remains one of his favourite materials, both in the sketchbook and on the canvas.
Inside the Sketchbook of Ken Nwadiogbu
As an artist who loves to experiment and explore beyond the constraints of traditional painting, sketching holds a special place in my practice. To me, sketching is not just a preliminary step towards creating a final piece; it is an art form, a canvas for my thoughts, feelings, and creativity.
When I sketch, I don’t always think about the end product being a painting. In my paintings, I am often guided by the images I capture on camera and the moments I live. These images are spontaneous and are seen as my sketches because they embody the first step in my creative practice. But, when I sit down with a sketchbook or a piece of archival watercolour paper, I tend to go on a different journey. I enjoy the process because I see it as a playground where I can explore ideas that might not find a home in my more polished works. It is also a space where I can plan and visualise installations, sculptures, or even just jot down abstract concepts. I believe my civil engineering background influences this approach; sketching is akin to drafting a blueprint.
One of my most cherished sketchbooks was a gift from a fellow artist. She created an amazing design on the back cover, making it stand out among my other sketchbooks. It’s also small, which makes it easy to carry around and jot down ideas as they come. This sketchbook isn’t my only medium; I also enjoy sketching on individual sheets of watercolour paper. I keep these sheets together in a bag, and they offer a unique experience. When I’m sketching a person or a specific scene, I can pull out a single sheet just for that purpose. Once completed, each piece feels like a standalone work of art, almost like a painting.
I sketch anywhere. The smaller sketchbook travels with me so I can capture ideas on the go, while the larger sketchbooks or sheets of paper come out when I’m deliberately setting aside time for a sketching activity. The portability of my sketchbooks means I can respond to inspiration wherever it strikes, whether I’m in the studio, at a café, or out exploring the city.
There was a period when I had lost a lot of my sketches, a painful experience that led me to step away from sketching for some time. To me, this was more than just losing drawings; it felt like I had lost a part of my creative voice. This weighed heavily on me, as my sketchbook was a vital outlet for my ideas. However, my admission to the Royal College of Art reignited my passion. Being in that environment, with lectures, museum visits, and interactions with other artists, I found my way back to the sketchbook. It became a means to engage with new ideas and concepts actively.
I also joined a group of artists who participate in sketching sessions, capturing subjects in less than 15 minutes. This practice has been incredible and transformative. It is always exhilarating to work against the clock, focusing solely on capturing the essence of a person without the luxury of time to ponder or perfect. It is a huge contrast to my studio time, where I could spend hours listening to music, dancing, or immersing myself in podcasts. These group sessions helped me sharpen my instincts and embrace the immediacy of the moment. Working alongside other artists, I found myself pushed to think and act quickly, a skill that has enhanced all aspects of my practice. The spontaneity required in these sessions is something I’ve carried back into the studio, influencing even my more deliberate works.
In my sketching practice, I returned to using charcoal and pastel, mediums that I had somewhat moved away from in favour of acrylic and oil paints. Charcoal, in particular, has a special place in my heart. I enjoy using willow charcoal because of its flexibility and ease, and Faber-Castell soft charcoal, which helps me achieve deeper, more intense blacks.
One of the techniques I find particularly satisfying is using a Q-tip to blend my sketches, building up tones and light. This method gives the sketches a realistic feel, adding depth and dimension that mirrors the detail in my paintings. While I sometimes incorporate pastel and watercolour into my sketches to add a touch of colour, I typically prefer sticking to monochrome. The use of charcoal and pastel keeps my sketches rooted in a more traditional, raw aesthetic, which contrasts with the vibrant colors often seen in my paintings.
I also admire the works of Leonardo da Vinci, particularly his use of charcoal and the way he integrated text into his sketches. This approach inspires me to label parts of my sketches to remind myself of the thoughts and ideas that sparked their creation.
Sketching is liberating. Coming from a background where art supplies were a luxury, every painting had to be precise and valuable. Sketching, however, is a space for imperfection. It allows me to pen down my thoughts, no matter how crazy or foolish they may seem. This freedom to explore both the perfect and imperfect aspects of my creativity helps me understand what “perfection” truly means.
Often, my sketches serve as blueprints for more significant projects. For instance, before I created the “Migrant” sculpture, I sketched out a rough idea of what it might look like. This simple and random sketch eventually evolved into a monumental 15-foot sculpture displayed at Scope Miami in 2022. This evolution from sketch to sculpture shows the power of sketching as a tool for ideation. The ability to sketch without boundaries or constraints is crucial to me; it’s where ideas are born and developed, sometimes leading to some of my most significant works.
In some way, sketching is an integral part of my artistic journey, a tool that allows me to explore, ideate, and express in ways that a canvas or a sculpture might not permit.
About Ken Nwadiogbu
Ken Nwadiogbu is a London-based multidisciplinary artist whose work masterfully blends hyperrealism with contemporary elements. Initially trained as a civil engineer, Nwadiogbu pivoted to fine art, where he first gained acclaim for his hyperrealistic charcoal drawings. His artistic journey has since evolved into more conceptual works that engage a diverse array of techniques.
Ken’s artistic journey led him to London in 2022, where he earned a Master’s degree in Painting from the Royal College of Art. His work is known for addressing critical themes such as identity, displacement, and socio-political control. His unique approach merges intellectual rigour with playful ingenuity, creating visually arresting illusions that challenge viewers to reconsider their perspectives. This distinctive style is encapsulated in his “Contemporealism” movement.
Further Reading
Inside the Sketchbook of Katie Eraser
How to Create the Best Digital Photographs of Your Artwork
From Field to Studio: Coates Willow Charcoal
A History of the Artist’s Book and How to Make Your Own
Shop Sketchbooks on jacksonsart.com
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