For years, African art was often expected to remain tied to traditional styles and cultural symbols. While those roots still matter, contemporary African artists are now exploring far beyond them. Through abstraction, mixed media, bold textures, photography, and experimental forms, artists are creating works that feel more personal, expressive, and connected to modern life. The
“Most people look at art, but very few truly see it.”- Duke Asidere In a conversation with Duke Asidere, a simple but powerful idea emerges: seeing requires more than a glance. It requires patience, attention, and intention. What’s the Difference Between Looking and Seeing? Looking is immediate. It captures the obvious: the colours, shapes, and subject. Seeing goes
Ever wonder why some art looks like a masterpiece before you even read the caption? Professional framing acts as a silent “vibe check,” creating a clear boundary between the busy world and the artist’s vision. It is a visual editor that tells your brain exactly where to focus, setting the mood for the entire viewing
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
Ever wondered if that old artwork hanging in your home might be a hidden masterpiece? You just might be right! From Monday, 20th to Wednesday, 29th October, Hourglass Gallery is offering free artwork valuations for select pieces. To participate: Send us a clear image of your artwork, along with details such as artist (if known),
Home, as the saying goes, is where the heart is. This oil onboard painting by Jimoh Akolo pays homage to Samaru Village, the site of Ahmadu Bello University’s main campus, where the artist studied in the late 1950s. For Akolo, Samaru was more than a setting — it was a place of inspiration and belonging.
Eghrighri II by Bruce Onobrakpeya delves into the Urhobo myth of the rainbow, a tale layered with promise and peril. According to the story, anyone who could cut into a rainbow might uncover wealth and good fortune, but also risk unleashing misfortune, disease, and pestilence. This duality mirrors the ambiguity of life itself. In this
As part of our ‘On Display’ series, we’re putting up a display of early drawings and paintings by Gani Odutokun in our upper room from tomorrow, April 26th to May 5th. If you’re around, we’d love for you to stop by and take a look.
‘Ruling in Equivocal Terms’ is one of Ben Osaghae’s early explorations into mixed media. Incorporating newsprint cutouts, the artwork reflects Osaghae’s shift towards using diverse materials to deepen the narrative complexity in his art. Known for his minimalist yet fluid application of colour, Osaghae maintains a restrained palette that guides the viewer’s focus towards the
‘Hairdo’ by Sam Ovraiti and ‘Beloved’ by Maxwell Boadi Two very different styles.One is so gentle it eases your soul. Ovraiti, a master of the subtle gesture, creates a painting that melds the women and their background, creating a rich, mellow interaction. Boadi’s Father figure is aggressive and bold dominating the picture with his desire.
Excerpt from ‘Crowds & Queens – The Art of Ablade Glover’ by Dozie Igweze Shirley Du Bois Shirley Du Bois was, at the time, one of the most influential people in Ghana. She was the head of the Ghana Broadcasting Corporation, a close confidante of Kwame Nkrumah and the wife of the African American activist,
Gani Odutokun worked and exhibited, mainly, in the eighties and early nineties. He studied art at Ahmadu Bello University and went on to lecture there. He was at the forefront of a new generation of post-independence artists. He was intellectual, bold and curious – rooted in a philosophical approach, while constantly evolving. His artworks were
Justus Kyalo is Kenyan. He lives and works in Nairobi. Living in Kenya and being Kenyan locates his work and contextualizes it, at least, in a historical sense. But not really. Kyalo in his artistic expression does not see himself as Kenyan, or African. He is simply human – of the world. And an artist.
We are presenting 4 drawings by Ben Enwonwu at the gallery.The drawings span a period between 1946 and 1970, and were probably preliminary sketches for sculptures and paintings – a visual diary. They are an interesting insight into Enwonwu’s work methods, as well as, historically important documents about one of Africa’s most significant artists.
Like many Ablade Glover artworks, there are multiple layers to this piece. There is the elegant profile – the strong, resilient, graceful African queen. Then there is the amazing use of movement, colour and layering to create a visually compelling multi-layered canvas. It feels like a vast terrain – hills, crevices, valleys. There’s so much
Obi Ekwenchi’s artworks have always had a magical quality, probably because of his nuanced colours.He has always been able to present the subjects in his artworks with warmth, compassion, and a certain dignity. Ekwenchi was born in 1959. He studied Fine and Applied Arts at the Institute of Management and Technology (IMT), Enugu and got
Abiodun Olaku had a brief stay at the Mushin area of Lagos in his early days as an artist. He wandered the streets in the evenings, intrigued by the mix of chaos and energy. ‘GRA – Government Rejected Area’ and ‘Mushin at night’ present Mushin from the artist’s eyes. “GRA”, a night-time landscape explores the