There’s something about African art that lingers. A painting, a sculpture, a textile—each piece carries a weight beyond its colors and strokes. It holds history, memory, inheritance. But in a world where ownership is blurry and provenance can be lost in the shuffle, how do we make sure the legacy of African creativity isn’t erased?
That’s the question Adaobi Orajiaku is answering with Atsur, a platform at the intersection of art, tech, and finance. In an industry where artists often struggle to claim the real value of their work, she’s using blockchain to authenticate, protect, and ultimately preserve African art for future generations. But this isn’t just about digital records and smart contracts. It’s about rewriting the narrative—one where African artists are recognized not just for their talent, but for their intellectual and financial contributions to the world.
Adaobi Orajiaku is a technology lead, consultant, and founder of Akara Africa, a blockchain community focused on onboarding Africans to the web3 development space. Since 2012, sHE has built a career contributing to high-impact multinational projects as a software engineer and consultant. With a specialization in blockchain technology and quantitative engineering.
We sat down with Adaobi to talk about the first piece of art that moved her, the myths about African creativity, and what it takes to build something revolutionary when the world doesn’t quite understand it yet.
Q: What was the first piece of art that ever moved you? Do you remember where you were and how it made you feel?
A: My dad had a sculpture of himself and his twin sister, one of my favorite aunties, who had such a calming presence. Whenever I was stressed, just staring at that sculpture made me feel like she was there with me. It was a source of comfort.
Q: If you had to explain Atsur to an African grandfather selling paintings on the roadside, how would you do it?
A: I’d say: Grandpa, if something happens to you, how will people know this painting is your child’s inheritance? How will they know its true value? That’s what my company does. We keep a record of your artwork so your children can inherit it properly and secure its worth.
Atsur helps African artists track proof of ownership and value, turning them from just creations into recognised financial assets. By keeping a clear record of who owns each piece and tracking its history, we help artists enter financial markets and preserve their legacy.
Q: You’re building something at the intersection of art, tech, and business, three industries with their own complexities. What’s been the biggest surprise for you on this journey?
A: The sheer amount of structure that needs to be built. Many people are indifferent to cultural preservation, which makes this a long-term impact project rather than the typical fast-scaling startup.
Another challenge is the knowledge gap, even among creatives, about the intersection of art and finance, especially in the visual arts. We’re not just building a product; we’re building the culture and infrastructure needed for value creation in the industry. That takes time.
Q: Has there been a moment where you questioned everything whether Atsur would work, whether people would believe in it? How did you push through?
A: Absolutely. Atsur started with two co-founders, but as the business took shape, their support waned when they realised the long-term nature of the work. Not out of malice but because people need to survive, and quick wins aren’t always possible in this space.
I never doubted the need for our solution, but I did question whether I had the capacity to carry it all alone. Thankfully, I persisted and found new partners who believe in the vision. Today, we’re stronger than ever.
Q: Art authentication and blockchain can sound intimidating. How do you make these ideas more accessible to artists who aren’t tech-savvy?
A: Atsur takes on the complexity so that artists don’t have to. Every user automatically gets a digital wallet when they sign up, and the platform is designed for simplicity. Artists can verify their work, tokenise it, and sell on the blockchain all without needing any deep technical knowledge. Our goal is to let creatives focus on what they do best while we handle the rest.
Q: If we fast-forward 10 years, how do you hope African artists will look back at Atsur’s impact?
A: We’ll be the one-stop shop that financial institutions, collectors, and the world trust for African art provenance and information. More importantly, I want it to be seen as the movement that reshaped Africa’s art industry for the better.
Q: What’s one myth about blockchain and African art that you wish would disappear?
A: The idea that blockchain is just a tool for scams or get-rich-quick schemes. Blockchain is simply a technology just like the internet. Unfortunately, since it’s still evolving and lacks regulation, the negative stories dominate the conversation.
As for African art, I wish people would stop seeing creativity here as rare. Because our culture isn’t always properly preserved, and perhaps we don’t write as much scholarly work about our art, it can seem like we’re not as intentionally or intellectually creative as the West. Creativity is woven into African life, but because it’s so natural to us, it’s often overlooked. That needs to change.
Q: Many people still don’t trust digital ownership of art. What do you say to critics who argue that blockchain isn’t the future?
A: I’d say, Look at what major financial and legal institutions are doing. The JP Morgans of the world have moved from trying to restrict blockchain to learning how to integrate and regulate it. That shift says a lot. The world is adapting and Africa should, too.
Q: Do you think Africa is having its creative renaissance now, or is it still ahead of us?
A: Africa has always been a creative powerhouse, what’s changing is that we’re gaining confidence in our own creativity. So yes, we’ve always had it, and there’s even more ahead.
Q: When you’re not working on Atsur, what are you obsessing over?
A: Atsur combines two things I love, art and technology, which is why I’m so passionate about it. But outside of work, I’m focused on my walk with God and becoming a better person. We all have a lot of healing and learning to do, and I want to live as fully as possible.
Q: What’s one guilty pleasure or completely unrelated hobby that helps you stay creative?
A: Swimming and getting lost in a good fiction book. Both help me escape for a while, which is refreshing.
If there’s one thing to take from Adaobi’s journey, it’s that building the future takes patience. Atsur isn’t just a company; it’s a cultural shift, a long game in an industry that desperately needs structure.
Art, in many ways, is an act of faith. You create something, put it out into the world, and hope it finds the right people at the right time. And in Adaobi’s case, she’s not just creating—she’s making sure every African artist has proof that their work matters, their legacy is secure, and their creativity is an asset, not just an expression.
So the next time you walk past a roadside artist or scroll past an African painting online, remember: every piece holds a story. And thanks to people like Adaobi Orajiaku, those stories won’t be forgotten.