The Final Piece of Anthony Azekwoh's Viral "The Wedding" Found Its Home

After months of capturing the internet’s imagination and sparking endless fan theories, Anthony Azekwoh has officially sold the final masterpiece of his viral series, The Wedding. The last piece of the collection, which has become one of Nigeria’s biggest digital art phenomena of 2025, now has a high-profile new home. Def Jam CEO Tunji Balogun has acquired the final piece, cementing the series’s place in contemporary art history.

When we spoke with Anthony last year about the series’ inception [Read Here], he touched on the inspiration behind The Wedding, the unexpected internet fame, and the overwhelming acceptance by the public: 

Looking back now, it’s a full circle moment and his plan worked.

For those catching up on the phenomenon, The Wedding is a series of paintings. Anthony Azekwoh, a Lagos-based artist, writer, and entrepreneur, managed to fuse humour, fiction, and striking visuals to create a cultural event using his art. 

Nigerians debated, interpreted, and even co-wrote the evolving story. In a country where weddings are theatrical and deeply social, Azekwoh tapped into a shared experience, showing that art can be just as central to national conversation as any blockbuster album or film release.

Azekwoh’s journey has always been defined by change. He first taught himself to draw as a child after initially focusing on writing stories. He dropped out of school to pursue a career in art and has constantly moved between painting, writing, and sculpting. His practice often blends traditional techniques with digital innovation, producing larger-than-life physical pieces from ideas born on a screen. Technology, he believes, gives African artists a louder voice, helping them tell stories that might once have carried stigma or been overlooked.

The Wedding rolled out over four months and quickly became a social media phenomenon. With over 75 million views and $30,000+ in sales, the collection was among the biggest exhibitions in Nigeria last year. It was both art and a shared investigation into the Nigerian wedding culture, a narrative world in which viewers could immerse themselves, discuss, and even influence.

The series’ influence went beyond online attention. High-profile collectors, including Tunji Balogun, purchased works, joining a growing list of patrons who recognise Azekwoh’s unique approach. 

His sixth solo exhibition, held in December 2025, also drew notable names such as Tunde Onakoya, demonstrating how The Wedding has cemented its place both digitally and physically.

For collectors and fans alike, the series offered something we don’t see every day; it offered art that was relatable, culturally aware, and visually arresting all at once. By combining humour, narrative, and visual experimentation, Azekwoh created a story that everyone could interpret, react to, and take ownership of in their own way.

While “The Wedding” chapter is now officially closed, its impact on the Nigerian digital art scene is lasting. It has shown the power of storytelling, the potential of blending physical and digital techniques, and the value of putting cultural moments at the centre of art.

Anthony Azekwoh has shown that Nigerian artists can redefine how audiences interact with their art in real time. As collectors and fans await his next move, one thing we can expect is that whatever comes next will be worth watching.

For more insight into Anthony Azekwoh’s creative process and the vision behind The Wedding, check out our full interview with the artist.

Read Also: How To Appreciate Art (Even If You Don’t Get It)