Tuesday, 27 October 2026

'How yearly October Rain exhibition expanded to International Arts Festival '

Prince Kolawole K. Olojo-Kosoko, Chairman, Society of Nigerian Artists (SNA) Lagos State Chapter speaking during the opening of October Rain International Arts Festival' 2026.

OVER the years, October Rain has provided an important platform for artists to exhibit their works, exchange ideas, engage audiences, and contribute to the development of visual arts in Lagos State and Nigeria. We acknowledge and celebrate all those who have sustained this valuable tradition.

However, every enduring institution must continually renew its vision and explore new possibilities.

We therefore asked ourselves: Can October Rain become more than an annual exhibition? Can it connect artists with other creative professionals, attract international participation, stimulate cultural tourism, create employment, encourage investment, and open new markets for Nigerian creativity?

Our answer is yes!

That conviction has inspired the transformation of October Rain into the October Rain International Arts Festival, ORIA-FEST 2026.

This is not merely a change of name; it is an expansion of vision and a commitment to greater possibilities. Our vision is to establish a sustainable cultural platform where artistic excellence is celebrated, cultural heritage is preserved, creative talents are recognised, and artists are connected with opportunities in Nigeria and around the world.

Our mission is to bring creative minds together, promote cultural exchange, encourage collaboration across generations and disciplines, support professional development, and connect artistic creativity with the wider creative economy.

We are moving beyond the traditional boundaries of an exhibition to embrace visual arts, music, literature, theatre, dance, photography, film, fashion, digital creativity, and other expressions of human imagination.

We want our artists to discover new opportunities, our cultural institutions to attract greater recognition, and our creative community to contribute more meaningfully to economic and social development.

This is the direction in which we are moving, and this is the future we are working to build.

3. HONOURING OUR FOREBEARS AND CELEBRATING OUR LIVING LEGENDS

Ladies and gentlemen, as we look towards the future, we must never forget those whose sacrifices made our present possible.


The history of the Society of Nigerian Artists is a story of courage, dedication, resilience, and a shared belief in the importance of art to national development. Since the establishment of the Society in 1963 and the subsequent formation of the Lagos State Chapter in 1982, generations of artists have contributed to building the professional community we celebrate today.

We remember with profound respect our departed heroes, particularly Pa Emmanuel Alabi Bojerenu, Prince C. S. Akran, and Dr. Olu Ajayi, among other distinguished forebears whose leadership and contributions helped shape our Chapter.

Although they are no longer physically with us, their legacies remain alive in their artworks, their students, their institutions, their ideas, and the memories they have left behind.

To their families and representatives present today, we express our heartfelt gratitude. Your presence reminds us that behind every great leader are families who share in the sacrifices and responsibilities of service. We honour you and thank you for joining us in celebrating their enduring contributions.

However, our responsibility must not end with remembering those who have passed on. We must also celebrate our living legends while they are still with us.

We must honour our masters, appreciate our art educators and researchers, recognise our cultural advocates, and celebrate those who have devoted their lives to developing artistic skills, mentoring younger practitioners, preserving cultural traditions, and expanding the boundaries of creative expression.

We must also recognise our emerging artists, students, young creatives, and members who are steadily discovering their voices and contributing to the development of the arts.

Recognition must not be restricted by age, gender, social status, popularity, or professional connections. Our women artists must be celebrated, our senior members respected, our young artists encouraged, and those who work quietly behind the scenes acknowledged.

Let us build a culture in which we celebrate one another, appreciate excellence, recognise service, and preserve the knowledge of our masters for future generations.

At October Rain International Arts Festival, we are not here merely to display artworks. We are here to celebrate the people behind the art, honour the past, recognise the present, and inspire the future.

4. CONNECTING ART TO THE CREATIVE ECONOMY AND CULTURAL TOURISM

Distinguished guests, one of the principal objectives of this transformation is to connect the arts more meaningfully with the creative economy.

The contribution of artists extends far beyond the studio and gallery. Art connects with tourism, hospitality, architecture, interior design, fashion, film, advertising, publishing, digital technology, education, entertainment, heritage management, and cultural diplomacy.

A painting can become a cultural attraction. A sculpture can transform a public space. A poem can inspire a film, while a festival can generate opportunities for hotels, restaurants, transport operators, vendors, photographers, designers, and other creative entrepreneurs.

An exhibition may generate sales, but a well-developed festival can also create employment, professional networks, partnerships, and access to new markets.

Our creativity must not only enrich the soul; it must also create sustainable opportunities for those who possess it.

We must work towards an environment where artists can earn sustainable incomes, creative entrepreneurs can build viable businesses, and young people can discover meaningful careers in the arts.

Our theme, Beyond Borders: Celebrating Our Heritage, Honouring Our Forebears, and Inspiring the Future, reminds us that culture connects humanity.

Nigeria possesses extraordinary cultural wealth, historical experiences, artistic traditions, and creative talent. We must preserve this heritage while sharing it with audiences across the world through exhibitions, performances, research, collaborations, and international cultural exchanges.

Imagine a Lagos where visitors explore our historical landmarks, engage with our artists, appreciate our contemporary art, and discover the stories that have shaped our identity.

These possibilities require cooperation among artists, government institutions, traditional authorities, educational establishments, tourism professionals, private-sector partners, and the wider public.

Culture is not a luxury. It is part of who we are, what distinguishes us, and a valuable resource for national development.

Through ORIA-FEST, we seek to build a platform where heritage meets innovation, creativity meets enterprise, and Nigerian artists connect with the wider world.

5. APPRECIATION TO OUR EXECUTIVE TEAM AND FESTIVAL PARTNERS

At this point, I wish to acknowledge the people whose commitment has helped sustain our journey since 2021.

Leadership may be visible in the person standing at the podium, but its achievements are rarely the work of one individual.


To my Vice Chairman, General Secretary, Treasurer, Financial Secretary, publicity team, welfare team, social secretaries, and every executive member who has served at different times during our 2021–2027 administration, I express my profound appreciation.

Thank you for your time, ideas, sacrifices, constructive criticism, and unwavering commitment. Thank you for standing with me through challenges, uncertainties, disappointments, and moments of achievement.

We may not have accomplished everything we envisioned, but we have continued to work towards strengthening our Society and creating better opportunities for our members.

As our administration approaches the end of its tenure, I want every executive member to know that your contributions have not gone unnoticed.

History will not be written by one person alone; it will be written through our collective efforts.

I also extend special appreciation to Prince Saheed Adelakun and his entire organising team for their dedication to bringing this year's festival to reality. Organising an event of this nature requires patience, coordination, sacrifice, and teamwork. To every committee member, volunteer, and individual who has contributed behind the scenes, thank you.

I equally recognise all past chairmen of the Society of Nigerian Artists, Lagos State Chapter, and the committees that organised and sustained October Rain from its earlier editions to the present. Each administration contributed to preserving this tradition and creating the foundation upon which we are building today.

Our sincere appreciation also goes to Mr. Qudus Onikeku, Director of the J. Randle Centre, and the entire management team for making the Centre available to us on exceptionally generous terms. Your support demonstrates the importance of partnerships between cultural institutions and artistic communities.

On behalf of the Society, I say a very big thank you for providing a welcoming environment for our artists and supporting this important cultural initiative.

To our donors, sponsors, collaborators, art patrons, media partners, and friends of the arts, we are deeply grateful. Whether you contributed financial resources, materials, professional services, publicity, logistics, advice, encouragement, or goodwill, your support has helped bring this vision closer to reality.

We invite more individuals, businesses, and institutions to partner with us in developing October Rain into a sustainable cultural platform.

Together, we can accomplish much more than we can achieve individually.

6. THE DREAM IS BIGGER THAN THE DRUMMER

Distinguished guests, permit me to share a thought that captures the spirit of this occasion:

The dream is bigger than the drummer.

It is bigger than any individual, any office, any administration, or any organisation. It is bigger than October Rain as we have known it and extends beyond the Society of Nigerian Artists, even though our Society provides the platform from which this initiative is taking flight.

This dream belongs to every artist seeking a better future for the creative profession, every young person searching for an opportunity to express a talent, every master whose knowledge deserves preservation, and every creative entrepreneur seeking a sustainable livelihood.

One person may conceive a dream, but many hands must build it. One administration may initiate the journey, but succeeding generations must sustain it.

I may stand here today to speak about this vision, but I cannot bring it to life alone. Neither can the executive committee.

We need you!

We need government support, private-sector investment, institutional partnerships, the commitment of our members, the guidance of our masters, and the participation of our younger artists.

We need partners who will not merely applaud the dream but contribute meaningfully to its realisation.

Let us move from criticism to contribution, from isolated efforts to collective action, and from good intentions to practical results.

The question is no longer simply whether this dream is possible. The question is: What role will each of us play in making it possible?

To our members, let us own this vision together. Let us strengthen our professional relationships, support one another, nurture emerging talents, and build a Society where members grow, knowledge is shared, and collective achievements are celebrated.

To our young artists, your ideas, energy, courage, and innovations are needed today. To our senior artists and masters, continue to guide us and share the wisdom of your experience. To our women in the arts and practitioners across all creative disciplines, your voices, talents, and leadership are indispensable.

To our prospective sponsors and partners, we invite you to invest in a vision that connects culture with education, tourism, enterprise, international relations, and sustainable development.

Let us work together to ensure that this festival creates value long after the exhibitions have closed and the performances have ended.

7. A FAREWELL OF GRATITUDE AND A CALL TO THE FUTURE

Ladies and gentlemen, as the 2021–2027 administration of the Society of Nigerian Artists, Lagos State Chapter, gradually winds down, I wish to speak from the heart.

Every opportunity to serve is a privilege, and every leadership responsibility is a trust.

To the entire membership of our great Association, thank you for the confidence you placed in us, your patience, constructive criticism, encouragement, and contributions to our collective progress.

To every member of the executive team, our past chairmen, senior members, younger artists, partners, and friends of the creative community, I remain profoundly grateful for the opportunity to serve alongside you.

We have faced challenges, encountered limitations, celebrated achievements, and learnt valuable lessons. Through it all, we have remained committed to advancing the interests of our artistic community.

Leadership is not about occupying an office indefinitely. It is about accepting responsibility, serving with commitment, contributing what one can, and leaving foundations upon which others can build.

As we prepare to hand over the responsibility of leadership to the next generation, my prayer is that the Society will continue to grow in unity, professionalism, relevance, and impact.

May those who follow build upon our achievements, learn from our experiences, and take the Society to even greater heights.

Our service may approach its conclusion, but our commitment to the advancement of art and culture must never end.

The future of the Society is greater than the tenure of any chairman, and its possibilities remain open to every generation willing to contribute to its growth.

8. CONCLUSION: TOGETHER, LET US MOVE BEYOND BORDERS

Distinguished guests, the true success of this inaugural festival will not be determined by today's ceremony alone, but by the opportunities we create, the partnerships we establish, the artists we support, and the legacy we leave for future generations.

With collective commitment, sound planning, sustained support, and a willingness to collaborate, October Rain International Arts Festival can grow into a recognised cultural platform that promotes Nigerian creativity and connects our artists with the wider world.

Let us build it with courage, sustain it with commitment, protect its integrity with responsibility, and expand its possibilities through collaboration.

The rain has always symbolised renewal, nourishment, and new beginnings. In that spirit, may October Rain bring fresh opportunities to our artists, renewed appreciation for our heritage, and lasting inspiration to our creative community.

May it nourish the dreams of emerging artists, honour the legacies of our departed heroes, celebrate our living legends and masters, unite creative disciplines, open doors to international cultural exchange, stimulate cultural tourism, and contribute to a future in which Nigerian creativity is celebrated at home and respected around the world.

The dream is bigger than the drummer. The vision is bigger than any one of us. The responsibility belongs to all of us.

Let us wake up to this dream. Let us connect with this vision. Let us join hands to make it a reality.

Together, let us move beyond borders.

Together, let us celebrate our heritage.

Together, let us honour our forebears and celebrate our living legends.

And together, let us inspire the future.

On this note, it gives me immense pleasure, as Chairman of the Society of Nigerian Artists, Lagos State Chapter, and Chairman and Host of this historic gathering, to welcome you to the inaugural October Rain International Arts Festival 2026.

May this festival mark the beginning of a remarkable journey for our artists, our members, Lagos State, Nigeria, and the global creative community.

-Excerpts from 'Beyond Borders: Celebrating Our Heritage, Honouring Our Forebears, and Inspiring the Future," delivered by Prince Kolawole K. Olojo-Kosoko, Chairman, Society of Nigerian Artists, (SNA), Lagos State Chapter, during the opening of 'October Rain International Arts Festival' 2026, on October 18, at J. Randle Centre for Yorùbá Culture & History, Onikan, Lagos.

Tuesday, 20 October 2026

Experimental still-life photography of ‘A Different Light’

 

'Cork Bottle Lamp' (still-life photography, dated 2026) by Vivian Bunmi Afolabi.

By Tajudeen Sowole 

WHILE it has been established that light is a lifeline from which photography gets its survival, photo artist Vivian Bunmi Afolabi extends the practicality with her works. Afolabi, whose work focuses what she tags as ‘still-life photography’ takes her lens art through experimental lamps.

Sunday, 18 October 2026

Strokes of probity through ‘Lady by the Window’

'Lady by the Window' (oil on canvas, 61 x 76.2cm, and dated 2026) by Oluwapelumi Oluyemi.

By Tajudeen Sowole

WHEN artist, Oluwapelumi Oluyemi brushes through the minds of people to expose their deep thoughts, art and mental health converge. But her probity into inner thoughts of people comes with expanded identity as the artist’s established impressionist texture in figurative subjects adds freshness with abstracted contents.

Saturday, 17 October 2026

‘I Am Just A Boy’ of resistance, combative strokes

'I Am Just a Boy' (oil on canvas, 47x34 inches, dated 2026) by John Okoye.

By Tajudeen Sowole

THE smooth brushings in figurative paintings by John Chukwuemeka Okoye are the immediate attractions, leading to increased interests in his works. In 21st century art from Africa era when most artists of his age, either by choice or circumstances of capacity, blackens figurative and portrait paintings, Okoye brushes through the resilience of realism representation.

Wednesday, 14 October 2026

Applications for art residency opens in Lagos

A section of La Champagne Tropicana, Lekki, Lagos.

La Campagne Tropicana Resort, Lekki, Lagos State has opened applications for the first edition of its Art Residency, a two-month programme for Nigerian artists and artisans. The residency runs from February 5-April 4, 2027 at the resort in Ibeju-Lekki, Lagos, as applications close on 30 November 2026.

Monday, 12 October 2026

Six artists head for maiden miniature 'Art Fair'

DESCRIBED as a miniature Art Fair, Fragments converges six artists for the maiden edition of the exhibition.

'Brave Men From Argungu 2 acrylic on canvas, 12 x 10 inches, and dated 2026) by Moses Oghagbon.

Holding from October 17-November 3, 2026 at Artlab Gallery, 8, Issac John Street, GRA, Ikeja, the fair brings contemporary Nigerian art landscape into celebrating the monumental, where grand scales dominate gallery spaces. The fair, according to Artlab Gallery pivots beautifully toward the intimate, presenting a curated selection of  miniature works that prove impact is not dictated by physical dimensions.

In a gallery statement, Timi Balogun of ArtLab explained that the fair featuring six versatile visual artists —Lekan Onabanjo, KKK Olojo, Moses Oghagbon, Olumuyiwa A. Olusola, Adewale Awesu and Paul Ayokhai—explores the thematic framework of memory, cultural documentation, identity, and everyday life broken down into distilled, concentrated compositions. "The title "Fragments" serves as an intellectual anchor, framing each miniature as an expansive universe unto itself," Balogun stated. "Miniature art demands a distinct form of spectatorship; it forces the viewer to step closer, abandoning passive observation for a quiet, highly focused engagement. In a fast-paced world, this deliberate contraction of scale acts as an intentional space for deep contemplation. Enjoy the viewing."


Ancient diaspora connection to Yoruba name origin 

 Auchi alumni regroup for 1499 art force

Self-reflection inspired olusola's watercolour


In Lagos, sculptors reconverge for Elixir 3 exhibition

From Black Figures, Black Masks' Okwuosa generates youthful visual texture

'Women of Elephant Tusk' in empowerment, cultural cohesion

How Prof Buhari captured 'Yusuf Grillo Like You've Never Seen'

Art on chessboard with Tunde Onakoya, Lanre Olagoke 

Onyeka Onwenu's last major honour in Art of Afrobeats award 

Soyinka at 90...revisiting Maya Angelou, superlatives of Nobel Prize

Separating Yoruba religious tradition from Isese (2)

Uwa Usen

When Prince William, Musawa others celebrated Olagoke's MBE

Separating Yoruba religious tradition from isese


Saturday, 10 October 2026

Storytelling through textile art, drawing

 

'Stories Beneath the Old Tree' (mixed media from textile art of Christianah Apanisile.

By Tajudeen Sowole

FROM modern to contemporary, artists keep proving the resilience of drawing as foundational textures of art and craft. This much of skills as a major foundation in art seems to be a strength for textile artist, Christianah Anuoluwapo Apanisile, despite her imperfection in areas such as perspective judgement.

Sunday, 4 October 2026

Wake-up call to Nigerian visual arts stakeholders


Peter K. DaSilva

By Peter K. DaSilva,

This brief essay is to all stakeholders in the Visual Arts sector in Nigeria, starting from the artists, to the galleries, art schools and the policy makers in the federal and state governments. More importantly, the essay is addressed to the National Gallery of Art, being the main government agency responsible for  the promotion and preservation of the Visual Arts in the country. The agency has a great role to play in properly positioning Nigerian art not only in Nigeria but also in the world.

Friday, 2 October 2026

Metaphorical lines in ‘The Orders of Things’


'Hidden Convergence' (photography) by Oluwatosin Bakre.

By Tajudeen Sowole

AS one of the basics of creating art, the aesthetics value of line keeps proving its resilience as seen in the photography works of Oluwatosin Bakre. Thematically, her works also apply line in analogous context that cuts across many aspects of human encounters.

Thursday, 24 September 2026

With new instructors, Winarc Summer Class celebrates future masters

Participants at Winarc Summer Class 2026 and the facilitators.

STARTED ten years ago, Winarc Summer Art Class, at Peace Estate, Ipaja, Lagos has every reason to celebrate its journey.

"I'm grateful to God that my dream is coming to reality," Winarc Studio Founder, Archie-Abia Godwin stated shortly after the 2026 edition. "This experience has been interesting and innovative, particularly now that we have two new energetic artists and instructors, Temitope Victoria Ogunwale and Enoch Makinde." 

Friday, 18 September 2026

Collapsing art, craft boundaries with woven contemporaneity

By Tajudeen Sowole 

'Woven Together' (coral beads) by Kent Osaro Uwadiae.
 
THE more attempts to define the difference between art and craft as something confined in critical appreciation, the smaller is the barrier between the two. For each genre of artistic expression, contemporaneity is the measure through which art and craft can be collapsed to allow broader appreciation, according to works of Kent Osaro Uwadiae.

Tuesday, 15 September 2026

Kareem's mystery of masquerades, Padonu's home beyond boundaries at Signature

The Quiet Roar (acrylic on textured canvas, 76x90 cm,  dated 2026) by Yakun Kareem.

By Ola Alowoloke

THE visual and spiritual language of masquerade come as a central theme for artist, Yakubu Kareem. Also, Israel Padonu shows 'home' as a theme beyond the boundaries of geography.

Through expressive colour, layered textures, movement and powerful figures, Kareem probes spiritual and ancestral connections. His solo art exhibition titled What Refuses to Be Forgotten, showing from September 19-26, 2026 at Signature Beyond Gallery, 107 Awolowo Road Ikoyi, lagos, Nigeria, explores the relationship between the visible and the unseen, the individual and the ancestral, the past and the present.

For Padonu, his solo exhibition When I “Sea” You, I Think of Home invites people to think about home beyond the boundaries of geography. The exhibition which opens on September 19-26, 2026 at Signature Beyond Gallery, 107 Awolowo Road Ikoyi, lagos, inspires people to consider home as something carried—in memory, in the body, in culture, in family stories, in landscapes and in the traditions that continue to shape us.

Among the works for Kareem are titles such as The Ancestor, The Elder Sits With Fire, The One Who Watches, The General of Spirits, The Quiet Roar and The One Who Comes First, all suggesting a world where memory is alive and the past continues to speak to the present. These works are not simply representations of masquerades; they are reflections on identity, inheritance and cultural continuity. The figures seem to carry stories within them. Some appear to dance, some watch, some arrive, some follow, while others stand with an almost commanding stillness. Together, they create a procession of memory.

The exhibition reminds people that culture is not preserved only in books, museums or archives. It survives through the people, ceremonies, gestures, symbols, stories and collective remembrance. It survives because each generation finds a way to carry something forward.

In this sense, the masquerade becomes a powerful metaphor for memory itself. Beneath the layers is history; within the movement is tradition; behind the mystery is identity.

What are the ancestors still saying to the people? What traditions continue to shape who the people are? What memories have the people inherited without even knowing it? And what must the people refuse to allow the passage of time to erase? These are the questions being asked by Kareem's What Refuses to Be Forgotten. 

"The exhibition presents a compelling collection of works that explores memory, ancestry, spirituality, cultural identity, and the enduring influence of tradition," Signature Beyond states. "At the heart of the exhibition is the masquerade, presented as both a cultural symbol and a dynamic visual language."

Signature Beyond adds that through out the works, masquerade figures appear in moments of movement and stillness—dancing, observing, arriving, blessing, following, and commanding attention. Each figure contributes to a broader reflection on how cultural memory continues to exist within contemporary life.

The gallery notes that Kareem’s expressive treatment of colour, texture, movement, and form gives his figures a striking sense of vitality. "They seem to emerge from a space between memory and imagination, carrying an atmosphere that is at once mysterious, celebratory, spiritual, and contemplative.

According to Signature Beyond, some of the works form part of a larger visual narrative about identity, heritage, and what survives across generations. Such pieces include The Ancestor, The Elder Sits With Fire, The Blessing Dance, The Smiling Spirit, The One Who Comes First, The General of Spirits, The Trickster Dance, The Quiet Roar, Dust and Fire, and Falling Unbound. 

For gallery, the exhibition speaks to the importance of keeping cultural narratives alive through contemporary art. Kareem demonstrates that tradition does not need to remain confined to the past. It can be reinterpreted, transformed, and experienced through new artistic languages while retaining its emotional and cultural power.

The gallery argues that What Refuses to Be Forgotten is an exhibition about presence the presence of those who came before us, the presence of tradition within modern life, and the presence of memories that continue to influence the people's understanding of themselves and their communities.

"I paint Egungun not as costume, but as presence. In Lagos of 2026, the ancestors did not disappear. They changed clothes. They took raffia and turned it to brushstroke. They took ritual and turned it to color," Kareem said in his Artist Statement.

"These 14 works are 14 conversations. Some come with power. Some with laughter. Some sit. Some run. Some come in pairs, because memory never walks alone.

"The blue faces are not masks. They are the sky remembering us. The yellow raffia is not decoration. It is grass, fire, and gold all at once. The pink, purple, and orange grounds are Lagos itself — loud, spiritual, and alive."

Kareem explained that the exhibition is not about documenting tradition, but "I am proving it is still moving."


Clustered Remembrance (charcoal and acrylic on canvas, 153x153 cm, dated 2026) by Israel Padonu.

Padonu’s paintings emerge from a deeply personal relationship with Badagry, a place whose historical significance extends far beyond its physical landscape. Yet, rather than presenting Badagry solely through the weight of its history, the artist approaches it as a living environment—one shaped by community, spirituality, nature, resilience and cultural continuity. 

At the centre of this exploration is the sea. The sea becomes both landscape and metaphor: a space of movement, separation, connection and remembrance. It carries stories from one generation to another, while reminding us that places can hold memories long after people have departed from them.

Padonu’s distinctive visual language further deepens this encounter. His figures appear to emerge from and disappear into their surroundings. Faces are partially revealed, bodies become intertwined with organic forms, and layers of colour suggest memories that are constantly being reconstructed. His paintings do not always give us complete answers. Instead, they invite us to look, pause and remember.

There is also an important dialogue between the personal and the collective. The artist’s experience of loss becomes a doorway into larger questions about ancestry, identity and belonging. What begins as an intimate meditation on memory expands into a reflection on what communities inherit, preserve and carry forward.

For Signature Beyond, showing Padonu's works is an opportunity to support an artistic voice that approaches contemporary African experience through an authentic and deeply personal visual vocabulary.

"Padonu reminds us that memory is not passive. It moves. It changes. It survives. And sometimes, it returns through colour, landscape, gesture and form."

In its gallery Statement, Signature Beyond Art describes Padonu's exhibition as an intimate and compelling investigation into memory, culture, place and collective belonging.

"The exhibition occupies an important position within contemporary African artistic practice because it approaches identity not as something fixed, but as something continuously shaped by place, history, environment, ancestry and experience," Signature Beyond states. "Padonu’s engagement with Badagry provides the foundation for this inquiry. Rather than treating the coastal town simply as a historical site, his practice considers it as a living cultural landscape—one where history, spirituality, family, nature and everyday life continue to intersect."

The gallery notes that Padonu's  paintings transform the environment into a psychological and emotional landscape. The sea occupies a particularly significant position within this vocabulary, the gallery adds, explaining that it becomes a metaphor for the movement of people, memories and histories. It connects distant places while also holding the traces of separation. Through the sea, Padonu considers how belonging can survive distance and how memory can travel across generations.

 "My artistic practice emerges from grief, memory, and the ongoing process of healing after the loss of my mother, Padonu says in his Artist Statement. "Painting has become a space of refuge and release, allowing me to transform personal emotion into reflections on history, identity, and belonging."

Excerpts from Padonu's Artist Statement: "Rooted in Badagry, an ancient coastal town in Lagos State, my work engages the sea as both landscape and metaphor. 

"To me, the water is witness, passage, provider, and archive, carrying stories of labour, spirituality, migration, loss, and survival. My practice looks beyond Badagry’s dominant association with the transatlantic slave trade, drawing attention to the living cultural memory of the Ogu people and their enduring relationship with the coastline. Through multilayered figurative abstraction, I create fluid compositions informed by coastal landscapes, coconut fronds, shoreline patterns, and water currents. 

"My elongated, shifting figures evoke ancestral presence, communal experience, and the emotional weight of home. When I “Sea” You, I Think of Home is an ongoing meditation on how the ocean holds memory, grief, and connection between the living and the departed. Ultimately, my practice is an act of remembrance and care—reimagining Badagry as a living archive where home becomes not simply a place, but a feeling that reture like waves."

 Kareem (b. 1996), and from Edo State, Nigeria, grew up in Ikotun, Lagos, where he completed his primary and secondary education. He went on to study General Arts at Auchi Polytechnic, Auchi, Edo State, earning his National Diploma (ND) in 2017, before pursuing his Higher National Diploma (HND) at Yaba College of Technology, Lagos.

Padonu (b. 1987) is a Nigerian contemporary artist from the ancient coastal town of Badagry, Lagos State. He holds a B.A. (Ed) with Honours in Creative Arts from Tai Solarin University of Education (2017). 

Rooted in the shoreline realities of his hometown, Padonu’s practice explores memory, belonging, and the emotional weight of place through multilayered figurative abstraction. His work is deeply shaped by personal grief following the death of his mother, as well as Badagry’s historical identity as a former transatlantic slave route. 


Two decades of Owoyemi's diverse layers in 'Becoming...'

 

Dialogue (repousee assemblage sculpture, 97/54 cm, dated 2026) by Taiwo Owoyemi.

By Ola Alowoloke 

IN celebrating two decades of studio practice, artist, Taiwo Owoyemi showcases a retrospective of questions asked, risks taken, and truths uncovered.  Dialogue, 2026. Repousee assemblage sculpture, 97/54 cm