Buraimoh started his working life as a lighting technician with the Duro Ladipo theatre before joining the art workshop. Maybe childhood days spent working with his mother who was a raffia weaver prepared him for a life of putting objects together. He did not have great expectations when he signed up for the Mbari-Mbayo workshop along with 50 or so other young men curious about the new art workshop. Maybe he might become adept at painting backdrops for the theatre, he thought.
The workshop, however freed a latent desire for visual expression in him. This expression followed the path of many of the early Oshogbo artists, exploring Yoruba culture and mythology.
From his start working with oil and Lino print, he would go on to explore beads as a means of expressing his ideas. Beads were common in Yoruba design, used mainly to embellish head gears, stools and other objects. They hadn’t been used in contemporary art before though. Buraimoh’s ability to borrow this design element, reconfigure it and employ it in a new way broadened his horizon, enabling him to create artworks that were profound, yet warm and playful.
He would go on to teach and influence a new generation of artist beyond the Oshogbo circles teaching in the United States in the Nineties before returning to Nigeria to continue the process of creating artworks, encouraging younger artists and passing on the vision of Oshogbo.