…As Prince Willam’s portrait graces Tatler’s cover
Since his debut in the Nigerian visual art scene in 2012, Oluwole Omofemi, a contemporary Nigerian visual artist and curator, has not relented in his quest for artistic excellence and stardom.
Known for his unique painting techniques, the Ibadan-based has enthralling works in private hands, galleries and public spaces, amid many solo and group exhibitions.
In May 2022, his creative ingenuity soared to a new level; a global height, amid recognition. That year, he was commissioned by Tatler, a United Kingdom-based magazine, to make a painting of the late Queen Elizabeth II.
Excitedly, the painting covered the special platinum jubilee edition of the magazine and was to be the last commissioned painting of her before her death.
Following that huge career feat, Omofemi is mostly known today for painting the last commissioned painting of Queen Elizabeth II before her death.
But that wasn’t the last contact the Nigerian-born artist will have with the UK royal family.
From Queen Elizabeth II, Omofemi is moving on to paint the portrait of Prince Willam, Prince of Wales and the heir apparent to the British throne.
Once again, courtesy of Tatler Magazine, Omofemi has painted the portrait of Prince William, which will be on the cover of Tatler this June, a British magazine that focuses on fashion and lifestyle, as well as coverage of high society and politics.
He tagged the work ‘Continuity in a New Era’.
“This portrait of Prince William continues a conversation I started with my painting of Queen Elizabeth II,” Omofemi explained.
But while the late queen’s portrait was rooted in a sense of permanence and long history, Omofemi noted that Prince William’s portrait feels more like a moment in transition—someone who carries that history, but is also stepping into what comes next.
He also hinted on what he wanted the finished work to be from the inception. “When I worked on this piece, I was not trying to make something overly grand,” he said.
“I wanted it to feel present, calm, and relatable. There is a quiet energy in the portrait—not loud or dramatic, but thoughtful. It is about showing responsibility in a way that still feels human, something people can connect with without needing too much explanation”.
He also drew similarities between the two portraits, referencing royalty and continuity.
“The yellow tone, which also appears in the Queen’s portrait, became a natural link between the two. In both works, it speaks to royalty and continuity, but here it feels softer, more open—like something that is still evolving. It connects the two portraits as part of the same story, while still allowing each one to stand on its own”.
He also pointed to a faint image of St Edward’s Crown within the piece, which he did not treat as something fully present or possessed, but more as something approaching.
“Its faded quality reflects that sense of inheritance—something not yet fully claimed, but already felt. It carries a certain weight, more expectation than authority. In that way, it ties closely to the title ‘Heir’, placing the portrait in that space between becoming and being,” he said.
Meanwhile, he managed to include subtle references to African textile traditions in the work, which are not meant to stand out immediately, but sit quietly within the work and add depth without taking over.
“As an African artist, it is important for me to bring my perspective into what I do—but in a way that feels natural and honest. In the end, these portraits are less about two individuals and more about a shared story. They speak to legacy, continuity, and change. This work sits in that in-between space—where the past is still present, and the future is slowly taking shape”.
Also shedding light on the differences between the portraits of Queen Elizabeth II and Prince William, he noted that while Queen Elizabeth II engaged more directly with history, continuity, and legacy, Prince William’s portrait is more immediate and contemporary.
“It is less about institutions and more about the tension between public image and inner humanity. So, while both are portraits of major figures, they speak in very different emotional languages”.
But both were rendered in oil on canvas as the artist confessed that oil gives him the depth, richness, and flexibility he needs in portraiture. “It allows me to build the painting gradually through layers, creating subtle transitions in tone, texture, and atmosphere. Oil helps carry both the emotional weight and physical presence I want the work to have”.
Detailing his techniques, he said, “The way I work is I start doing some blockings on the canvas based on how I interpret the image and then I pick the colours and designs I may want to add”.
In the case of Prince William’s portrait, Omofemi went with the yellow to mirror the Queen’s portrait done a few years ago, to symbolise the past and future. “I also added a crown on top of his head as a symbol of the future king. In addition, I included certain elements of my own heritage such as the designs on the tie, which mean a lot to me and where I grew up”.
Explaining the inspiration for the work, Omofemi noted that it grew out of his continuing interest in portraiture as a way of exploring identity, memory, and presence. “I was interested in creating an image that goes beyond likeness and tries to communicate character and emotional weight,” he said.
He also recalled the difficulty in getting inspiring images when he was approached by Tatler to do the portrait of Prince William for the cover.
After several searches over the internet, he came up with a few images that inspired him from how they brought out the Prince’s essence and gave a sense of what kind of a prince he is and what kind of king he could become.
“I printed and studied them. There was one image in particular that I found on google that made him look very grand and I used that as my base inspiration”.
But the timing of the work, according to him, is right considering that the world is in a moment where public figures are constantly seen, but not always deeply observed.
Hence, he wanted to make a portrait that invites people to look again and again.
However, he has a simple expectation from the new work; to create conversation. In addition to recognising the subject, he also wants people to engage with the painting emotionally and think about what portraiture can still communicate today.
While the work awaits the official unveiling on Tatler’s cover this June, the artist is already receiving great responses from people. “What interests me most is that different people have brought different interpretations to the work. That is always rewarding because it means the painting is alive beyond my own intentions,” he enthused.
But painting the portraits of the British royal family is just the beginning for Omofemi as he hopes to paint other notable world leaders in the future, especially figures whose presence carries cultural, historical or symbolic significance.
By June, when Prince William’s portrait must have graced the cover of Tatler Magazine, Omofemi hopes to move on, keep pushing his work further, developing new ideas, new bodies of work, and continuing to grow as an artist both in Nigeria and internationally.
But for him, it is never just about visibility. “There has to be something deeper that can be explored through paint,” he concluded.
