Adey Omotade is a Nigerian interdisciplinary artist, composer, and curator whose practice explores the intersection of sound, ritual, and cultural memory. Drawing on Yoruba cosmology, archival oral traditions, and indigenous instrumentation, Omotade creates immersive and participatory works that investigate listening as a sensory, spatial, and relational act.

His compositions and installations engage themes of migration, ecology, and decolonial museology, combining field recordings, ambisonic sound design, and experimental electronic textures. Projects such as Niri: Embodied Cartography and Irin Aajo have been presented internationally and reflect his commitment to reactivating embodied knowledge through contemporary media.

Omotade has participated in prestigious residencies including Schloss Balmoral (Germany, 2024), La Napoule Art Foundation (France, 2024), Cité internationale des arts (Paris, 2022), Tribe XX Lab (Lagos, 2023), and En Plein Air (Côte d’Ivoire, 2022). He is also a founding member of several community-based creative platforms, including Playlisters by Adey and The Abele Art Foundation, where he leads programs that bridge grassroots music sharing, ritual sound research, and curatorial strategy.

His earlier work includes shaping foundational performance spaces such as The Loft Melville in Johannesburg, where he curated The Fridge, one of South Africa’s pioneering genre-defying experimental bands. His roles at Velo Café (Johannesburg), Danfo Bistro (Lagos), and Lotus at Pataya (Lagos) further demonstrate his commitment to cultural ecosystems that support sonic experimentation and community expression.

Trained originally through hands-on experience in the Nigerian visual art and fashion scenes—at Nimbus Art Gallery (2004–2005) and as a photographer at Honnecker Modeling Agency (2005–2007)—Omotade brings a multidisciplinary sensibility to all facets of his work.

His recent exhibitions and performances include presentations at the Centre Pompidou (Paris), Galerie Frank Elbaz, Schloss Balmoral, Alliance Française, and Victoria Yards. In 2025, his work will be featured in a panel at King’s College London on sound, ritual, and migration. He has also collaborated with the Wits School of Architecture in Johannesburg on research exploring indigenous acoustics and the politics of spatial design.

Omotade is currently expanding his linguistic capacity to operate in French and is committed to learning the administrative and legal frameworks of French heritage institutions, including acquisition protocols, restoration processes, and international loan coordination. His approach centers dialogue with communities of origin, ethics of access, and the reimagining of traditional instruments as active carriers of cultural and ecological intelligence.