Childhood memory as metaphor in Atabeh’s freedom theme

'When Children Still Run' (photography) by Samuel Avurakoghene  Atabeh

By Ola Alowoloke

AN old, rusty bungalow, located along unpaved road with children in playing mood, sharing the same space with a lone goat, all add up to childhood innocence and memory. 

Texture, hue engagement case study in Atolagbe’s themes

'Infinite Becoming' (photography) by Babatunde Atolagbe.

By Tajudeen Sowole

FOR whatever reason, it’s taken for granted that every piece of art should speak for the subject to generate strong appreciation of the artist’s efforts. That expectation, sometimes, becomes either a challenge, hurdle, or strength for the artist as two of the works of photographer, Babatunde Atolagbe expose the complexity of handling age-specific subjects.

Art of interrogating homeware utilitarian effect

'Untitled Chair' (mixed media furniture, 88 x 40 x 50 cm, dated 2024) by Stef

By Tajudeen Sowole

WHOEVER wishes to engage in critical study of the relatively close link between surreal and conceptual contents has something to chew in the works of artist, Oluwasemilore Stephen Ogunsanya, who chooses to be simply known as ‘Stef’.

From Ghana to U.K, Atanda lifts indigenous weddings

Pan-African Nuptials & Alaga Showcase at National Theatre of Ghana, Accra. Pic: c/o Producer.

By Ola Alowoloke

ACROSS diverse cultures of the world, marriages between families, sometimes involve ceremonies that expose deep customs of the people. In Africa, specifically, Nigeria, weddings are like festivals as explored in two different ethnic groups by cultural event producer, Farida Atanda.

‘I Have A Dream’ of stringart with Ogunlende

'I Have A Dream's (stringart, 20x26 inches, dated 2024) by Omotoyosi Ogunlende.

By Tajudeen Sowole 

OUTSIDE the walls of juried exhibitions, sometimes the public appraisal, perception and appreciation don’t always align with the organised and formal verdict of a panel. From one side of the complexity, some artists do get favourable critical appraisal. 

Silhouette path through Makidamaker's lens

'Veiled Fracture' (photography) by Makidamaker

By Tajudeen Sowole 

ACROSS three generations of Nigerian photographers, iconic individuals such as JA Green (1973-1905), and postcolonial 1960s-1990s/2000s such as Peter Obe, JD Okhai Ojeikere, Tam Fiofori and 21st century masters like Kelechi Amadi-Obi, George Osodi, among others have boosted the mastery of the lens art.

The Femi Osofisan that I know

Celebrant, Prof Femi Osofisan (left); text author and poet, Ben Tomoluju; and filmmaker, Tunde Kelani during 80th birthday of Osofisan...in Lagos, recently.

By Ben Tomoloju

IN 1973, as an 18-year-old Lower Sixth Arts student of Christ's School, Ado-Ekiti, I was privileged to play the lead role, Sanda, in Femi Osofisan's A RESTLESS RUN OF LOCUSTS. The second lead performer was a Class Four student, Miss Toyin Egunjobi (now Mrs. Eriye) who played Iyabo. The play was selected, produced and directed for the school's Drama Society by our Literature graduate teacher, Niyi Osundare and his colleague, Ebenezer Ojo.

In Lagos, two galleries, 20 artists converge for 'Here & Now'

'Tailored To Her Root' (acrylic & fabric on canvas, 18x24inches, dated 2025) by Austin George Dorgu.

By Ola Alowoloke 

AS 20 contemporary artists explore the stories shaping Africa's present and future, two art galleries collaborate for better understanding  of the environment.

Metaphor of sight through lens of Akran

'Eyes Combo' (digital painting, 40x30cm, dated 2021)) by Mede Akran.

By Tajudeen Sowole 

THE symbolism of sight and vision comes with the thematic context of creativity in artist, Mede Akran’s work of inspirational photography. 

Ezema's 'Condition Make Crayfish Bend' highlights identity, womanhood

'Alignment' (ceramics, acrylic, monofilament, fishing line, metal, 150x90x45cm, dated 2026) by Ngozi-Omeje Ezema

By Ola Alowoloke 

WITH a theme built on Nigerian mother tongue usage of English language, artist, Ngozi-Omeje Ezema exposes woman as a victimized member of the larger society.

The artist's solo art exhibition titled  Condition Make Crayfish Bend opens June 6-August 22, 2026, at kó Gallery, 36 Cameron Road, Ikoyi, Lagos. The exhibition, which is Ezema's second solo exhibition at the gallery, addresses issues relating to identity, family, and womanhood. 

Osofisan at 80: Celebrating literary scholar with landmark events

Prof Femi Osofisan.

NIGERIA’s literary and theatrical communities are upbeat this June to honour one of Africa’s venerable culture personality, Professor Femi Osofisan, as he celebrates his 80th birthday. 

Ajuyah's digital strokes over conservative Lagos

A section of Jessica Ajuyah's The Shape of Memory solo art exhibition at Terra Kulture, Victoria Island, Lagos.

By Tajudeen Sowole 

The Lagos art environment has something to chew, perhaps digest too, in the emerging digital textures on the art appreciation landscape of the city. 

Arguably the art hub of West Africa, Lagos, which prides itself in art galleries of mostly three to four decades or more old hardly display works outside the traditional art textures. Going through quite a number of exhibitions across the Lagos central art districts in first quarter of 2026 exposes a shift. 

Signature's SWANS-3 converges 15 female artists

'Silence of Becoming' (ballpen on watercolour paper,  29.7x42cm, dated 2025) by Onesa Oruoghor.

IN its third edition, a yearly art exhibition SWANS converges Victoria Somawine, Tayo Ayelowo, Precious Longest Samuel, Naomi Oyeniyi, Adeola Ablesworth Obafun, Hyacinth Goddess, Patience Adekunle, Christianah Odunayo, Onesa Oruoghor, Lucia Eberechukwu, Omoyiwola Oluwatimilehin, Urana Oyinyechukwu, Olwayemisi Abejide, Adesakin Mary Damilola and Sandra Igwe Chiamaka.