Pop Surrealism often gets a bad reputation in conservative parts of the art world. Originating from the underground Lowbrow art movement in 1960s Los Angeles, it is strongly tied to discussions surrounding high and low art. They come in several distinct forms – some gritty, some highly polished – with common tropes being a mix of contemporary references from urban life woven into witty, dramatic or meaningful compositions. As a result, the aesthetic has garnered a stereotype for being surface level, cartoonish, and unintellectual. However, the art market seems to love it, given the global popularity of artists like KAWS, Philip Colbert, and Takeshi Murakami.
Amidst those continuing this parallel tradition of art history is Maureen Uzoh, a London-based Nigerian artist whose balloon-head figures reflect on familiar feelings of wanting to pursue one’s hopes and dreams but also being literally tied down by society’s expectations of them. Inspired by personal circumstances, her paintings are grounded with self-referential elements that allude to her Nigerian heritage and life experiences.
For example, works like As I Begin This Journey (2025) feature Ankara textiles – also known as batik – a type of printed fabric that is synonymous with the African diaspora. Embroidery is also sparingly used in pieces like I Found A New Place Called Solitude 3 (2024) as a nod to African traditions of intricate hair-braiding patterns as symbols of tribal identity, status, and wealth.
Meanwhile, the balloon motif was born out of family pressure to push Uzoh towards a ‘stable’ career path. In fact, her parents actively dissuaded her from pursuing art, resulting in her taking degrees in B.Sc Sociology and Psychology (Delta State University, Nigeria) and M.Sc International Relations (University of Portsmouth, UK). Still, she would occasionally sneak into neighbouring art classes to satisfy her relentless childhood desire for creative expression. In many ways, her balloons act as a kind of self-portrait while serving as a canvas for others to project their hopes and dreams on. As a Christian, Uzoh strongly believes her artistic path is part of God’s plan for her, praying for guidance everyday in her studio before work begins.
Colour and emotion are also intricately tied in her work. Red – her favourite colour – features heavily, representing fiery passion, attention, and even danger. In Party of 3 (2024), different hues of blue characterise the two figures on the side, inspired by a memorable outing with Uzoh’s friends; the more conventional blue alludes to her friend’s sad nature while teal is suggestive of the other’s cute, affectionate character. Meanwhile, the purples found in I Found A New Place Called Solitude 2 (2024) suggest mystery, spiritual energy, and deep trauma. She is currently working on a series that explores the way complex combinations of emotions live within us.
Since her solo show at Broadworks with Hive Curates in October 2024, Uzoh has featured in numerous high-profile exhibitions, from For The Love: Save Lives, Give Blood at Brixton House to celebrate the launch of a new NHS Blood and Transplant (NHSBT) blood donor centre in Brixton, to Able-Graphy*: Volume 2 presented by luxury accessory leather goods brand Nosakhari at London Fashion Week.
She intends to expand her practice towards more community engagement and collaboration with mental health organisations, having seen the positive impact of her participatory project, Send a Message to the Universe (2025 – ongoing), which invites the public to release their hopes and emotions using balloons. Again, this practice of ritualistic release has precedents in her community in Nigeria.
Uzoh’s practice brings with it a simple message of resilience, freedom, and authenticity. By using an urban visual style that feels relevant and contemporary, her work reminds us that we are not alone in our feelings, that the weight of pressure is universal, and that sometimes letting things go is a necessary part of life.
Discover more of Maureen Uzoh’s work on her website and Instagram.
Nigel Ip 
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