In this artwork from 1975, as with many of her artworks, Wenger blends Yoruba praise poetry (Oríkì) about gods like Osun and Obàtálá with the European mythology she was raised with, illustrating the tensions within her own blended cultural identity. Despite her deep integration into Yoruba religion and culture, she acknowledged that she remained an outsider in certain aspects.
She incorporated ancient symbols to symbolize her role as a bridge, balancing her reverence for Obatala and devotion to Osun. Within the chaotic beauty of her worship, a figure raises its hands, either birthing or protecting another figure. Additionally, a lizard is depicted within the scene, subtly integrated into the composition. In many cultures throughout the world, lizards are regarded as signs of good fortune and prosperity. Beneath the lizard, there is a depiction of a man’s head and what appears to be the Chief’s sword (Ida), symbolizing the spirit and purpose of Osun.
Wenger may have been an outsider, but she certainly tapped into the core of Yoruba mythology and culture.