Prince William: Continuation of conversation on royalty

“When I worked on this piece, I wasn’t trying to make something overly grand. I wanted it to feel present, calm, and relatable. There’s a quiet energy in the portrait—not loud or dramatic, but thoughtful. It’s about showing responsibility in a way that still feels human, something people can connect with without needing too much explanation.

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 said.

Omofemi said there’s a faint image of St Edward’s Crown within the piece, which he didn’t 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.

“I also included subtle references to African textile traditions. They’re not meant to stand out immediately. I wanted them to sit quietly within the work, adding depth without taking over. As an African artist, it’s 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, in particular, sits in that in-between space—where the past is still present, and the future is slowly taking shape,” he added.

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On what inspired him to produce the work and why now, he said: “This work grew out of my 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. The timing felt right because we are in a moment where public figures are constantly seen, but not always deeply observed. I wanted to make a portrait that invites people to look again.”

Explaining the fundamental difference between Queen Elizabeth painting and the portrait of Prince William he said that the portrait of Queen Elizabeth II engaged more directly with history, continuity, and legacy. But that the portrait of Prince William is more immediate and contemporary, as it is less about institution 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,” he noted.

Omofemi works on oil on canvas, which gives him the depth, richness, and flexibility he needs in portraiture. It allows him to build the painting gradually through layers, creating subtle transitions in tone, texture, and atmosphere. For him, oil helps carry both the emotional weight and physical presence he wants the work to have.

His expectation is that the work should create conversation beyond recognizing the subjects.

 He described the response so far to be strong and encouraging, saying what interests him 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 said.