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
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