[11] Babajide Olatunji's career was ignited by the death of his father and the need for sustenance as the bread winner of the family, which sharpened his focus to explore art professionally while he was a student at Obafemi Awolowo University.

[12] Olatunji's career officially took off in 2014, when Victor Ehikhamenor introduced him to Ayo Adeyinka of Tafeta Art Gallery, who he connected to on Facebook in 2013.

Babajide Olatunji's "Tribal Mark Series I" was exhibited at the TAFETA Gallery, London in 2014 as his introduction to the global art community.

Babajide Olatunji's partnership with TAFETA Art Gallery led to the production of 4 major body of works between 2014 and 2019 which he continues to develop and produce.

[18] His creative process starts with a story, created before he draws the desired morphological features, after a detailed study of concepts to produce distinct figures.

The project is a collection of portraits with the cultural practice of facial scarification, created without seaters as muses, initial contact or original photographs of the individuals.

The project introduced an exploration to a 200-year old practice of identification and beautification through tribal marks (called “Ila”) by people of Yoruba culture during the era of slave trade.

He created a mini series within the project themed Twins (Diptych) which was selected to be showcased at the Royal Academy of Art's summer exhibition.

The project was inspired by the nostalgic experiences of his childhood interactions with his parents and their utterances of proverbs to communicate intentions that weren't easily articulated but, were applicable to a wide variance of conditions.

This is Babajide Olatunji's premier largest work and his first with acrylic on canvas, which spans more than 4 meters in length, titled “The History of the Yorubas (Volume I): Obatala's time at the forge of Sokoti”.

He activates this myth by depicting an imaginary scene where Obàtálá visits the forge of Sokotí to inspect the long and strong gold chain to reach Òde Ayé (earth) from Ìsálú Òrun (the abode of the gods).

[29] The painting is encoded with hidden proverbs and meanings, including triangular compositions which reflect Yoruba belief in the significance of the number three.

The composition of the piece is set in a simple linear perspective and employs the golden ratio in its pattern of illustrating the position and sizes of the characters to reflect their relevance in the painting.

[31][32] Aroko is a series of pieces exploring the ancient practice of sending cryptic messages through simple everyday objects,[33] with the messenger unaware of the intention conveyed by the items exchanged between the sender and the receiver.

Objects like stones, gunpowder, honey, leaves and fish were some of the items used for this ancient practice, this series brings these elements to life and illustrates some direct àrokò messages.