Blank Canvas to Breakthrough: IMO's Artistic Journey in Hastings

Word by George Mingozzi-Marsh

Photos by Charlotte Steeples

Two years ago, Ibi Meier-Oruitemeka (Studio IMO) was not a painter. In fact, she had never really considered it as an option. But on the morning of her birthday in May 2023, she woke up with the inexplicable urge to buy some paint. She followed that feeling, and since then, painting has become not just an artistic pursuit but a radical shift in the way she sees herself.

Hastings and St Leonards have provided a backdrop to this transformation. The creative energy of the coastal town, its vibrant artistic community, and the space it offers for reflection and solitude have all played a crucial role in IMO’s rapid ascent. In less than a year, she has established a distinct visual language, presented a sold-out solo show at Big Yin gallery, and cultivated an audience that connects deeply with her work.IMO's path to painting was anything but conventional. With a background in English literature and media, she meandered through various careers, from post-production to market research, before founding The Afro Hair & Skin Co., a natural hair and skincare brand. Creativity had always been a part of her life, but it took an unexpected moment of inspiration—and the uninhibited creativity of her own children—to unlock her desire to paint.

"Watching my children play and create without hesitation reminded me of how much I loved making things as a kid. They just do it without overthinking, and I think that stirred something in me," she reflects. "Everything I used to draw, I’d rip up and throw away. But seeing them create with such freedom made me want to try again."

And try she did. Within days of picking up a brush, she discovered a distinctive style—expressive, fluid figures, their forms stretched and elongated, often clustered together in acts of quiet intimacy. Her process, she explains, was intuitive: "I realised I was trying to control it too much at first. But when I let go, something clicked. I understood that I didn’t need to map everything out; I just had to follow where the painting took me."

The geographical and cultural shift of moving to St Leonards ten years ago laid the groundwork for IMO’s eventual artistic awakening. Having spent most of her life in London and four years in Stockholm, she found herself drawn to a different pace of life. "Stockholm made me realise you could live differently," she says. "When I moved back to the UK, I craved that balance—the space to think, to create. Hastings gave me that."While the town’s slower rhythm seemed appealing, it was the creative community that truly welcomed her into the fold. It was a friend who first encouraged her to apply to the Bottle Alley Art Market, a local artist-run fair. Initially hesitant—“I didn’t feel like I had enough work, and it all felt too soon”—she set herself a deadline, painted as much as she could, and took the plunge.

The response was overwhelming. "People connected with the work in a way I never expected. The paintings I took sold quickly, and then suddenly, through word of mouth and social media, there was more demand. It felt surreal."

Her debut solo exhibition at Big Yin, a gallery in St Leonards with a growing reputation for platforming emerging talent, further cemented her presence in the local scene. Though the show posed new challenges—"Suddenly, there was this expectation, this idea that I had to have a clear narrative"—she ultimately embraced the opportunity. "I struggled at first with the idea of painting to a theme. But once I let go of that pressure and just painted the way I wanted, it all started to flow again.”

The show sold out on its opening night.

Despite her immersion in the artistic life of Hastings, IMO describes herself as someone who thrives in solitude. "I tend to work in a very self-contained way. I need quiet and space to create," she says. "Of course, I have people I can talk to—Michelle next door, who's a ceramicist, has been great. And the team at Big Yin have been incredibly supportive. But I think I like the balance of being part of a community while still working independently."This push and pull between connection and solitude is evident in her paintings. Some pieces depict figures interwoven, bodies leaning into one another, arms draped across shoulders—a visual language of warmth, closeness, and togetherness. Others carry a quiet loneliness: isolated figures, expressions that hint at introspection or distance, even within a crowd."I think that comes from my own experience," she reflects.

"Being British Nigerian, growing up in a household where cultural identity was important but also existing within a wider society where I sometimes felt like I didn’t fully fit. There’s that duality—the sense of belonging and, at the same time, the feeling of being slightly apart."

She recalls visiting the homes of family friends, where African folk art adorned the walls, preserving cultural heritage in an environment far from its origins. "I think that’s seeped into my work, even if unintentionally. There’s something about those artworks—how they tell stories, how they hold history—that feels familiar."

Despite her rapid success, IMO remains committed to keeping her practice grounded in exploration rather than expectation. "I just want to paint every day. That’s it. I want to keep that feeling alive, that sense of discovery."Her recent move into a dedicated studio space signals a commitment to this new chapter. "A year ago, painting wasn’t even on my radar. And now, I have my own studio, the time to create. That in itself feels like a huge shift."And as for Hastings? It remains the ideal place to nurture this journey. "There’s something about being here—the space, the people, the way the town feels connected—that makes it possible. It’s given me the freedom to find this new path, and I’m excited to see where it takes me next."