Beyond Whisky: How The Macallan Is Redefining Sustainability In Nigeria’s Art Scene

L-R: GM, Nigerian Bottling Co Ltd, Goran Sladic; MD Middle East, Edrington, Murdock Martin; Brand Manager, Edrington Portfolio Nigeria, Idorenyin Emmanson; Senior Area Manager Edrington Portfolio, Nigeria, Sonderegger Nicky; Senior Brand Manager, Edrington Portfolio, Nigeria,  Hammed Adebiyi; Premium Spirits & HoReCa Director, Nigerian Bottling Co Ltd, Ioannis Simos; Regional Commercial Director Middle East, Edrington, Soto Miguel; and Co-founder Alexis Gallery and Convener of the exhibition, Minas Mastrogiannis, at the Recycling Matters I Exhibition, held at the Alexis Gallery, Lagos in partnership with The Macallan, on Tuesday, February 18

In November 2024, while everyone was winding down for the year and the spirit of celebration setting in, Alexis Galleries and The Macallan embarked on a different kind of reflection. Together, they showcased the works of nine remarkable artists who transformed discarded materials into thought-provoking art.

This exhibition, themed “Mirrors of Our Time,” explored society, humanity, and evolution through an environmentally conscious lens.

The success of this initiative sparked yet another collaborative effort, one that would deepen the conversation on sustainability in art: “Recycling Matters I”, which was unveiled in February 2025. Curated by Alexis Galleries, “Recycling Matters, I” unites the work of four contemporary artists who specialise in repurposing found objects into artworks.

These artists, through their distinct styles, push the boundaries of art by transforming waste into powerful social commentary.

Their works not only evoke beauty but also provoke discussions on human consumption, material excess, and environmental degradation.

The exhibition showcased a collection of works crafted from stained glass, rubber, scrap metal, and plastic waste, transforming ordinary discarded materials into extraordinary pieces of art.

This exhibition delves into the social realities of waste, utility, and functionality, reflecting on the excesses of consumer culture and their socio-economic consequences.

The artists ingeniously repurpose discarded materials—stained glass, rubber, scrap metal, and plastic waste—into visually striking masterpieces that challenge our perceptions of waste and value.

This exhibition extends The Macallan’s broader commitment to sustainability and the arts.

In October 2024, in collaboration with Alexis Galleries, the whisky brand launched The Art Residency Initiative, a month-long program that nurtured Nigerian artists while promoting environmental consciousness.

By providing a platform for artists to engage with sustainability, The Macallan reinforces its dedication to eco-conscious practices beyond whisky production.

For The Macallan, sustainability isn’t just a buzzword—it’s a guiding principle. With an ambitious goal to achieve net-zero emissions by 2045 and cut emissions by 50% by 2030, the brand has been at the forefront of integrating environmental responsibility into its operations.

Since 2021, The Macallan Distillery has achieved carbon neutrality, utilizing 99% verified renewable energy sources such as wind turbines, biomass steam, and renewable natural gas.

By merging art with sustainability, The Macallan and Alexis Galleries are challenging norms and inspiring change. Recycling Matters I is more than an exhibition—it is a call to action. It compels audiences to recognize the hidden potential in discarded materials and rethink their role in shaping a more sustainable future.

In a world grappling with environmental crises, initiatives like these reaffirm the power of creativity as a force for transformation and renewal.

The featured artists —Konboye Ebipade, Francis Denedo, Eugene, Olushola Olajobi, and Yusuf Riliwan Idowu— each brought their unique perspectives and artistic approaches to the concept of sustainability, reimagining waste as a valuable resource rather than a byproduct of human excess.

Konboye reinvents portraiture by meticulously stitching discarded footwear, creating a patchwork of visual narratives.

His piece, ‘Bose’, reimagines gender roles and survival in contemporary society.

Yusuf, on the other hand, employs a systematic arrangement of broken glass to construct ‘Elegance of Heritage’, a striking portrait celebrating cultural identity.

Denedo’s ‘Emancipation’ takes on a sculptural form, crafted from scrap metal to symbolise resilience, resistance, and the quest for freedom.

Meanwhile, Olajobi’s ‘Infestation Series I’ confronts the overwhelming presence of plastic waste in our environment. By reshaping discarded plastics into evocative sculptures, Olajobi forces viewers to reconsider their relationship with consumption and disposal.