If awarded the Dover Prize, I’d use the funding to develop Somewhere / Someone / Nowhere – a live sound and installation piece exploring identity, displacement and self-construction through Black British and queer lenses. It’ll be part soundscape, part performance, and part living archive – shifting between live looping, spoken word, stripped-down songs and a DJ/live hybrid. Think layered vocals, mirrors, projectors, voice notes, and fragments of memory – not polished, but honest and raw.
At its core, this is about place and people. I’d work closely with local young people and creatives in Darlington to co-create parts of the piece – whether that’s sonic textures, visuals, voice memos or personal reflections. I want their presence in the work to be felt – not just as a backdrop, but as co-authors. That might look like workshops, one-to-one interviews, or community sessions where people record or share stories around belonging, loss, or starting again.
I’d use the bursary to cover time, production costs, equipment (loop pedals, PA, projection gear), studio/rehearsal space, documentation, and collaborator fees (including local young people and facilitators). A portion would also go towards recording and mixing an accompanying audio piece that lives beyond the live event – something people can revisit or discover digitally.
This project is a turning point in my practice. I’ve spent the last few years shaping a multidisciplinary language around sound, story and performance. This would be the first time I get to build a long-form installation with this level of focus and local engagement. The Dover Prize gives the time and space to be intentional – to sit with people, learn from them, and create something that feels rooted, not dropped in.
More than anything, I want this to feel personal – for me, and for the people who help shape it.
I’m keen for this project to feel rooted in Darlington – not just dropped in. The plan is to involve local voices in the making of it, through open-call voice notes, sound recording sessions, and drop-in workshops where people can share stories, places, or memories that define ‘home’ to them. It’s a way to build a sonic and emotional map of belonging that includes the town.
By centring a live, evolving piece in Darlington – with local contribution baked in – I hope it invites more people to engage with contemporary art in a way that feels personal and relevant. Not everyone connects to gallery spaces, but everyone has a voice, a story, a place they miss or don’t quite feel welcome in. This work holds space for that.
I’m a musician, visual storyteller and creative practitioner who moves between sound, live performance, installation, and digital content. My background’s a mix of alt-pop and indie rock, and over the last few years I’ve pushed into community-facing and experimental work. I like to create spaces – whether it’s online, on stage, or through sound – that invite honesty and reflection. Recently I’ve been exploring what it means to document feeling, especially across marginalised identities. My work leans heavily into storytelling, archive (especially phone-based, DIY archive), and connecting people who feel a bit out of place. I’ve performed at festivals like BBC Proms 2024, The Great Escape, DJed across London and Europe, worked with brands like Samsung and Nike on socially-focused campaigns, and had my tracks featured on BBC 1XTRA, CLASH, Paper Mag and more. Most recently, I’ve been working freelance as a Community + Content Lead for a sports youth charity, blending digital storytelling with impact. Right now, I’m in a place where I want to build more installation and participatory projects that connect my music background with a deeper exploration of identity, memory, and belonging. The Dover Prize feels like the perfect way to step into that next chapter.
Nope – I trained at the BRIT School and then developed my practice through self-led projects, mentoring schemes (HQI and BBC), and work in the creative industries. Everything I’ve done has been hands-on, learning by doing. That said, I’ve always kept close to visual arts – from building my own set design and concepts for performances, to working alongside videographers, graphic designers, and creative directors.
Yes – in 2024 I was awarded a £20,000 Developing Your Creative Practice (DYCP) grant from Arts Council England to create my debut EP and visual world around it. That grant helped me solidify my creative voice and gave me confidence in leading a team and managing a full project end-to-end.
Yeah – I’ve built a lot from scratch. From running my own music events and DJ residencies at Brixton Radio, Subtle Radio and global station, to starting collaborative content series and Instagram-based exhibitions during lockdown. More recently, I’ve worked on building artist-led content for brands and charities, helping young people document their stories creatively through audio and film. I also co-run a small collective of queer and Black creatives sharing space, gear and ideas.
Not yet – though I’ve collaborated with public-facing brands like Samsung UK on creative campaigns, and worked with the V&A Youth Collective as a guest mentor and participant. A commission from a public arts institution would be a next step I’m really excited for.
No – not yet. My work to date has mostly lived online, in sound, or in live space. This installation would be the first step into a more physical/collectible version of my practice.
No – not represented by a gallery.
Yes – I’ve had a HQI Residency, which supported emerging artists to develop new work across music and visual disciplines. Through that, I had access to studio space, mentoring and creative feedback, which really helped shape my voice and process. I was also part of the BBC Open Music scheme, which brought together composers, producers and performers to explore cross-genre collaboration and the future of public music broadcasting. That placement gave me a chance to work closely with BBC orchestras and producers, and introduced me to experimental ways of working with sound and storytelling.
Alongside that, I’ve held DJ and curator residencies at venues like Simmons Bar, Subtle Radio, and The Lower Third in Soho. These have functioned like informal residencies – where I’ve had full creative control over sound, visuals and guest curation. They’ve been a space to test ideas, build community, and explore different themes across sets. Even though they’re nightlife-based, they’ve played a big part in developing my ability to hold space, read a room, and bring people together through sound.
Email: sharifaolateju345@gmail.com
Address: Flat B, 38 Broxholm Road, West Norwood, London, SE27 0LZ, GB
Local Authority: Lambeth, London
