In ‘Modern Man’, created in the seventies, Oyelami presents a young man in a tie, serious, composed, slightly officious. He stands as the embodiment of the emerging Nigerian corporate class: educated, ambitious, ready to stand shoulder to shoulder with professionals anywhere in the world. It’s not just a portrait, it’s a quiet, almost humorous observation
In 1942, in Agbarha-Otor, a master storyteller named Aminogbe sat before a circle of children and performed the epic tale of Eraguamire, the brave warrior and his seven magical dogs on a perilous hunt for the fearsome monster, Kalumudo. His performance was electric. Dancing, prancing, embodying every clash and triumph, Aminogbe drew the children so
For many artists, their most enduring works are born from people they love or admire. B’anu, the elegant bronze sculpture by Abayomi Barber, is one such work, intimate, reflective, and rooted in affection. In the 1960s, Barber was living in the United Kingdom, based in London, while his friend B’anu had settled in Manchester. During
Much of Duke Asidere’s practice is rooted in an enduring exploration of feminine strength, shaped by the presence of a formidable mother who instilled in him a deep respect for the power of womanhood. This influence recurs throughout his work, and The Queen Is a Dictator stands as a distilled expression of that theme. Here,
Letter Z (1967) is Muraina Oyelami’s interpretation of the biblical story of Jonah, rendered through the symbolic language and intuitive abstraction that defined the early Osogbo movement. At the centre of the composition lies a pale, elongated body — Jonah himself, stretched across a table-like surface. Hovering above and looking on is another figure, also
Tribute to Osogbo is our ‘On Display’ presentation from the 1st to the 8th of October — a focused display featuring artworks by the pioneering artists of the Osogbo School, shown in our Upper Room for one week only. Our ‘On Display’ series offers occasional, curated presentations drawn from the Hourglass collection — intimate showings
We have recently received a fascinating collection of Muraina Oyelami artworks from the late 60s and early 70s. These early artworks represent a crucial phase in his artistic journey, showcasing his masterful grasp of colour, nuance, and human emotion. Oyelami emerged as a key figure in the Oshogbo School of Art during the late 1960s
Text for The Master’s Exhibition Catalogue 2018 by Mydrim Gallery Masters as Servants Service There are no masters here. Not in a conventional sense, anyway. These are not wondrous, other-worldly beings floating in a bubble of their success. No, these are no masters. These are servant, when you think about it. They have toiled
A while back, I got an artwork by Muraina Oyelami. Typical Muraina piece – three women, done in his sombre, multi-layered style. It seemed like an old artwork – slightly damaged at the edges but nothing serious.