The Nation Newspaper

Category: Arts & Life

  • Honours for 15-yr-old autistic prodigy

    Honours for 15-yr-old autistic prodigy

    Nigeria’s flag was once again raised high with a 15 years old Kanyeyachukwu Tagbo-Okeke, achieving the impossible, setting a global record in artwork thereby shattering the previous Guinness World Record for largest painting by an individual.  Kanye, an autistic prodigy record-breaking 12,303.87 square metres artwork dumped into the bin the previous record of 9,632 square metres.

    Kanyeyachukwu had on November 24, 2024 broken the Guinness world record for the largest canvas painting, when he painted on 12,303.87 square metres canvas to dust the previous record.

    The artwork themed Impossibility is a myth meant to create autism and mental health awareness. The artwork has since continued to attract commendation as Kanye by his record setting artwork has proven that there is always ability in every disability.

    Kanye’s record breaking feat was unveiled in Abuja on Wednesday with the Guinness World Record issuing him a certificate for the largest artwork by an individual.

    The unveiling has in attendance the Minister of Art, Culture, Tourism and Creative Economy, Hanatu Musawa, the Chief of Defence Staff, Christopher Musa, UN Resident Coordinator in Nigeria,  Director General, National Art Gallery, Ahmed Bashir Sodangi amongst many dignitaries, which also include artists and other well-wishers who thronged the popular Eagle Square to cheer the young autistic prodigy.

    President Bola Tinubu, who was excited by the feat, celebrated Kanye’s achievement, saying it has drawn global attention, not only for its artistic magnitude but also as a testament to the limitless potential of individuals with autism.

    “You said, Impossibility is a myth,’ and you set out to prove that impossibility was nothing when you created the largest art canvas in the world at 12,303.87 square meters,” President Tinubu wrote in a tribute on his verified X handle.

    “You are brave, audacious, and tenacious. Your story has made history, and Nigeria is proud of you, Kanyeyachukwu Tagbo-Okeke.”

    Speaking at the unveiling, Minister of Art, Culture, Tourism and Creative Economy, Hanatu Musawa and the Chief of Defence Staff, Gen. Christopher Musa promised to support talents in the country, with the aim of harnessing them for the development of the nation.

    Musawa said the feat is proof that with the right opportunity and guidance, our young people can achieve the unimaginable. The Minister said: “It is with great joy that I stand before you today, as we come together to celebrate an extraordinary achievement. Today, we are not only witnessing the breaking of a world record, but also the triumph of determination, perseverance, and the unrelenting spirit of the Nigerian youth.

    “We are here to honour fifteen year old Kanyeyachukwu Tagbo-Okeke, a young Nigerian prodigy if I may say, who has shown the world what is possible when passion meets hard work. By breaking this world record, Kanyeyachukwu has not only set a new record but has also demonstrated to us all that age is no barrier to greatness.”

    The Minister stressed that the ministry “is committed to nurturing and supporting the talents of young people such as Kanye.

    Read Also: How my autistic uncle inspired me to start ‘Crown and Calm’ – Gloria Oyouwa

    “His achievement today is proof that with the right opportunity and guidance, our young people can achieve the unimaginable.”

    She stressed that Kanyeyachukwu’s achievement is for the entire nation, adding that “it is indeed a historic and inspiring milestone.

    The Chief of Defence Staff, General Christopher Musa in his remarks described the feat as further attestation of the renewed hope and resilience of the Nigerian people.

    Musa who was represented by the Chief of Defence Civil-Military Relations at the Defence Headquarters, Rear Admiral Olusanya Bankole noted that Kanye’s success is a pointer on the need to prioritize talents, discovering and making concerted efforts to support gifted individuals with appropriate platforms that will showcase and elevate them to limelight.

    “This is particularly important as Nigeria faces contemporary security threats that require both kinetic and non-kinetic measures,” he added.

    He added: “Today’s event offers us another dimension to tackling insecurity through non-kinetic means. By nurturing and showcasing talents, we can easily win the hearts and minds of people, encouraging them to embrace legitimate endeavours that project their image positively, rather than resulting in crime and acts of terror as a means to make their voices heard.

    “As we join other great Nigerians to celebrate the Guinness Book of World Records, let us be ever reminded that indeed, impossibility is only a myth.  Kanye’s journey is a compelling narrative of determination, creativity, and perseverance. Despite the challenges associated with autism, he has defied limitations and redefined the artistic world.”

    The Guinness World Record Adjudicator, Mr. Glenn Pollard, expressed excitement over the feat achieved by Tagbo-Okeke who started the paintings in November 2024. Pollard said: “Your paint on the canvas of 12,303.87 m² and smashed all records in November last year.

    “This is your certificate Kanye, for this your fantastic record, on behalf of the Guinness World Records, I will say you were exceptionally amazing and well done for your achievement.”

     UN Resident Coordinator in Nigeria, Mohamed Fall, described the art piece as an extraordinary masterpiece, one that not only breaks records but also breaks barriers.

    He noted that disability inclusion is central to the Sustainable Development Goals (SDGs), adding that the 2030 agenda for sustainable development calls for leaving no one behind, and this includes ensuring that persons with disabilities, like Kanye, have equal access to opportunities, education and employment. Falls, who was represented by the UNICEF Representative in Nigeria, Cristian Munduate, observed that true progress can only be achieved when societies embrace diversity and create environments where every child, regardless of ability, can contribute meaningfully and reach their full potential.

    She said: “It is a moment of awareness day and thus we are witness to unveiling an extraordinary masterpiece, one that not only breaks records but also breaks barriers.

    “Today we are celebrating Kanyeyachukwu, a young artist, whose talent and determination have captivated the world and is now inspiring children in Nigeria. His greatest world record achievement is not just a personal milestone but a very powerful testament to the limitless potential of what you can achieve with will. Helping and supporting people with disabilities helps so much the achievement of the Sustainable Development Goals around the world.

    “When we speak about autism and the opportunity that can be given to children and to many adolescents, we are talking about specific Sustainable Development Goals. And the purpose is leaving no one behind and this includes that all people with disabilities, like the ones in here, have an equal access to opportunities like access to education and employment. True progress can only be achieved when societies embrace diversity and create environments where every child, regardless of ability, can contribute to the experience, meaningful to which they are full of potential.

    “The United Nations is committed to advocating the rights of people and persons with disabilities and every child, especially those on the autism spectrum, to have equal opportunities as I mentioned, education, healthcare, and opportunities to thrive through inclusion and basic services.

    As we are admiring this breathtaking work of art, let us remind ourselves of our shared responsibility to create a world where all individuals are empowered, respected, and provided the space to express their full potential.”

    The Director-General, National Gallery of Art, Ahmed Bashir Sodangi, on his part said:  “The National Gallery of Art is committed to promoting and preserving Nigerian art, and we are proud to have played a role in supporting Kanye’s artistic heritage.  This award really marks a significant milestone in our effort to showcase Nigerian art to the world. As we marvel at the magnificent artwork, we remain touched as we remember Frisco’s famous and ugly title, Impossibility is a Myth.

    “We are reminded of the transformative power of art. Art has the ability to inspire, to educate, and to challenge our assumptions. It speaks to our shared humanity, invoking emotions, sparking imagination and prospecting hope.”

    The Canadian High Commissioner to Nigeria,  Mr James Christoff stressed the need for inclusion irrespective of background and circumstances.

    He said: “This journey is not only inspiring, but also proof of the power that comes from pushing beyond limits, both for persons with disabilities, but for all future generations. Various factors contribute to a person’s success, but society and community has a key role to play in recognising and embracing everyone’s diversity. In Canada, this belief is woven into the very fabric of our culture.

    “Equally important is our commitment to ensuring that everyone, regardless of their background or circumstances, has the same opportunity to succeed. This commitment extends to the inclusion of vulnerable groups, including persons with disabilities. In my country, we strive for a society where everyone has the chance to thrive, taking into account their unique challenges and starting points.”

    He further added: “We understand that our differences contribute to the strength of our nation. This belief is reflected in the way we live, interact, and express ourselves. It can be seen in our art, heard in our music, and even tasted in our diverse cuisine, as I have experienced here in Nigeria.”

    The proud father of GWR holder, Mr. Tagbo-Okeke, said the feat is a celebration of expansion of human capacity to do what many regard as impossible.

    Tagbo-Okeke said at the beginning many had doubted the possibility, hence the title “impossibility is myth”.

    He said: “Today we are here celebrating World Autism Day and at the same time we are celebrating what can be called the expansion of human capacity to do what many regard as impossible.

    “The theme of my son’s art piece, its title is Impossibility is a Myth. “We gave it that title because we knew that when we started to talk about this project, a lot of people said it was going to be impossible to do.

    “And then we just said that this impossibility that they are speaking about is going to be a myth and today Kanye has proved it. This art piece took him three months to do.

    “We are grateful. We feel highly blessed and we feel highly favored with the people that have come to celebrate with him. We are highly blessed and thankful.

    “At the same time, we will not take away the fact, the main fact from this occasion. We are here to celebrate World Autism Day. And so what we are doing here is actually for the children that are living with autism, all over Nigeria, all over Africa, all over the world.

    “It was significant for us and we did it on purpose, that this painting will be revealed on World Autism Day, for the world to see what these children can do. They are specially gifted and what they need is tolerance and inclusion from everyone.”

  • ‘Diversity, representation central to conversations in filmmaking’

    ‘Diversity, representation central to conversations in filmmaking’

    Founder and CEO, Adinon Film Studio, Mr. Michael Okpara is one of the leading players in the film industry. He has over two decades of expertise in film production, consultation and industry leadership. With a proven track record of delivering high-quality projects and fostering successful collaborations within the entertainment industry, Okpara speaks on the power of film to shift perspectives and create cultural moments, the democratisation of filmmaking tools and access, how trust and transparency sustain collaboration, his love for authentic storytelling that impact people, OZOLUA UHAKHEME reports

    Your journey in the entertainment industry?

    My journey in the entertainment industry began with a deep love for storytelling. I started out in development at a small production company, reading scripts and writing coverage, which gave me an incredible foundation in understanding what makes a story work. From there, I worked my way up through various production roles, eventually producing my first independent film. That project solidified my passion for shepherding stories from concept to screen. What led me here was a combination of persistence, collaboration with incredible creatives, and a genuine belief in the power of film to shift perspectives and create cultural moments.

    What are some of the most significant projects you’ve worked on throughout your career and what impact did they have on the industry?

    A few projects stand out. One was an indie drama that went on to become a festival darling and sparked important conversations about mental health—it proved that small films can have massive cultural impact. Another was a mid-budget genre film that redefined expectations for representation in casting and storytelling; it not only performed well commercially but also shifted how studios viewed inclusivity as both artistically and financially viable. Most recently, I produced a streaming series that blended traditional narrative with interactive elements, pushing boundaries in viewer engagement. Each of these projects contributed in some way to evolving the industry’s understanding of what audiences want—and need—from modern content.

    Your impression of how the film industry has evolved over the past two decades?

    The biggest shift has been in distribution and how audiences consume content. When I started, theatrical releases were the gold standard. Today, streaming platforms dominate the conversation. We’ve also seen a democratisation of filmmaking tools and access — people are making incredible films with minimal budgets and reaching global audiences. On the business side, data and algorithms now play a much larger role in green lighting decisions, which has its pros and cons. Diversity and representation have also become central conversations, and we’re finally seeing some real changes in whose stories are told and who gets to tell them.

    Read Also: OMONI OBOLI: I don’t produce YouTube films for accolades

    What has been the most challenging project you’ve worked on, and how did you overcome them?

    One of the most challenging projects was a historical drama we shot in an international location with a tight schedule and budget. Logistically, it was a beast — weather issues, permit problems, and language barriers all posed real hurdles. But what got us through was a relentless, problem-solving mindset and a team that believed in the story we were telling. I leaned heavily on local production partners and focused on building trust and flexibility into every part of the process. The experience taught me that preparation is crucial, but adaptability is what actually gets a film made.

    What has contributed most to your success in delivering high-quality projects?

    Strong relationships and commitment to story above all else. I’ve been fortunate to work with incredibly talented individuals, and I make it a priority to create an environment where people feel empowered to do their best work. I also focus heavily on development—if the story isn’t strong on the page, it won’t work on the screen. A disciplined approach to development, coupled with clear communication, has consistently delivered results.

    How do you foster collaboration among diverse teams to ensure a project’s success?

    It starts with cultivating trust. I make it a priority to listen actively and ensure everyone feels heard and valued. I also believe in transparency—being upfront about challenges and expectations. Every voice brings something unique to the table, so I encourage open dialogue and create structured opportunities for cross-departmental collaboration. A united team with shared purpose is unstoppable.

    What current trends do you see shaping the future of film production and the entertainment industry?

    We’re in a transformative era. Virtual production, AI-assisted tools, and real-time rendering are speeding up workflows and lowering costs without compromising quality. Audiences are also becoming more global, which is leading to a greater demand for culturally authentic stories. There’s a shift toward hybrid distribution models too, where streaming and theatrical releases co-exist in more strategic ways.

    How important is diversity within the industry, and how can it improve inclusivity?

    Diversity is essential—not just for fairness, but because it enriches storytelling. Different voices bring new perspectives, which leads to more authentic and emotionally resonant films. To improve inclusivity, we need to create more opportunities at all levels—from casting and crew to decision-making roles like directors and producers. Mentorship programmes, inclusive hiring practices, and access to funding for underrepresented creators are key steps.

    What role will technology play in the future of filmmaking?

    Technology is already transforming the way we tell stories, and that trend will only accelerate. Virtual production, AI tools, and real-time rendering are reducing barriers and enabling more imaginative worlds. But tech should always serve the story—not replace creativity. I see it as a partner in the creative process, not the director.

    What legacy do you hope to leave within the industry?

    I hope to be remembered as someone who championed authentic storytelling and opened doors for others. I want my legacy to be about impact—projects that made people feel something, and a career that helped lift other voices into the spotlight.

  • Beyond the veil: Dialogue between cuisines, canvas

    Beyond the veil: Dialogue between cuisines, canvas

    After a successful solo exhibition tagged Resounding Echoes, on his retirement last September, Dr. Kunle Adeyemi is exploring a fresh window to promote a blend of visual storytelling with the sensory pleasures of dining and creating a unique intersection of art and gastronomy in “Beyond the veil”.

    It opens today at Eric Kayser Restaurant, Mike Adenuga Centre, Alliance Française, Osborne Road, Ikoyi, Lagos.

    The exhibition, which runs from Wednesday April 16th to May 15th, transforms the restaurant into a gallery space, where paintings and print works engage with the atmosphere of fine dining. The dialogue between cuisine and canvas deepens the viewer’s immersion, inviting them to savour both artistic and culinary craftsmanship.

    Curated by CEO, Irachy Consult, Dr. Bukola Jaiyesimi with an emphasis on storytelling, Beyond the Veil presents a diverse collection of works that challenge contemporary notions, bridge the past with the present, and invite introspection. The works unravel hidden narratives, revealing the emotions, memories, and cultural echoes that shape our understanding of the world.

    According to Dr. Jaiyesimi, the choice of Alliance Française, a hub for cultural exchange in Lagos, is to provide the perfect setting for the confluence of ideas. The integration of art into the culinary space of Eric Kayser offers an innovative approach to experiencing creativity—not just as an observer but as an active participant in an evolving narrative.

    Bringing two art forms together was never a problem for the curator. How open are we to such marriage of forms in Nigeria? That is the question on her mind. Interestingly, she has over the years, managed cultural projects on behalf of clients.

    “But bringing it together was never a problem because it’s what I have done over the years. And I find that more than before, Africans are now open to art forms such as this than they used to be. Before, we normally find foreigners are the ones that are most interested in this.

    “Some of them will collect so much artworks that when eventually their time in Africa is over, they will need to pay extra luggage to move the works back home, while some actually donate to charities because they weren’t interested in selling.

    “So, they donate the artworks to charities who decide what they wanted to do with it, whether to take it back to the market to sell or to keep giving money to them in form of art, Dr. Bukola said.  

    Read Also: Shettima canvasses unity, endurance amid economic reforms

    It is expected that with the Easter celebration, art lovers, food enthusiasts, collectors, and the public will explore beyond the veil to immerse in the rare collection of Adeyemi, which is more than a display of artistic mastery—it is an invitation to engage, reflect, and experience the boundless potential of human creativity.

    Dr. Adeyemi may have retired from academics, but his hunger for new forms and expressions for the good of mankind knows no bound. Beyond the demands of studio practice, he is into volunteering services for children in remand homes where he will be teaching basic art. In exploring new grounds, he is working on under water scenes with the aim of discovering the abundant aquatic lives beneath the water. But, some of the artworks which are paintings and mixed media are metaphorical in theme.

    According to him, under the sea is 20 times bigger than the land, hence it deserves attention. “I am examining the under the sea to reveal what is there or what God has put there. Some of my works reflect the underwater series…fish, and other aquatic life. Not so many people think about life in underwater. I have been able to scratch it. I am still working on it and it is work in progress. It is like my attachment to music. Some of the works like Symphony of the soul, a mixed media on canvas, speaks to the viewer.

    Other works on show include Fragrance of traditional embroidery (metal foil relief) which depicts multiple designs of the traditional embroidery. Beyond the designs, the images and symbols on the dress are also messages that document trends and fashion at different seasons and times. But, Dialogue with nature series (111) a mixed media on canvas, is an abstract work with drips of colours on white background.  

  • Unstoppable Rhythms: ESHIN Teeblinks’ musical odyssey in ‘The Best of Me’

    Unstoppable Rhythms: ESHIN Teeblinks’ musical odyssey in ‘The Best of Me’

    Picture a heartbeat harmonizing with a drum, a whisper growing into a powerful chorus, and a journey unfolding with each note. This is the essence of The Best of Me, the debut album from Oloruntobi Olushola, aka ESHIN Teeblinks—an intricate sonic tapestry crafted from the threads of pain, resilience, and unshakable faith.

    Born into a God-fearing Anglican family in Nigeria, ESHIN’s early life was marked by the nurturing presence of his grandmother. The firstborn of his mother, he navigated the complexities of blended family dynamics. His musical roots trace back to his days as a lead singer in the children’s choir, where he first experienced the profound connection between voice and soul.

    “Music has always been a part of me… I always find a way to express my music talent,” ESHIN reflects. This intrinsic drive led him from the University of Ilorin in Nigeria, where he earned a BSc in Geology, to the University of the West of Scotland, where he pursued an MSc in Project Management. Yet, despite his academic achievements, the call of music remained unwavering.

    Music’s therapeutic effects are well-documented. Studies have shown that engaging with music can reduce stress, alleviate anxiety, and enhance emotional resilience . For ESHIN, music became more than an artistic outlet—it was a sanctuary. Through melodies and lyrics, he processed pain, celebrated victories, and found strength in vulnerability.

    “Through the darkest days, through the pain, through the betrayal and disappointments in life, music has kept me going,” he shares. This sentiment echoes the experiences of many artists who have turned to music as a means of emotional expression and healing.

    Crafting ‘The Best of Me’

    In November 2024, ESHIN released his debut album, The Best of Me. Each track serves as a testament to his journey—narrating tales of hardship, faith, and resilience.

    The title track, in particular, embodies his philosophy:”It’s about how I’ve stayed unstoppable despite the setbacks… I hope my story inspires others to keep going, no matter what they’re facing.”
    This album isn’t merely a collection of songs; it’s a mirror reflecting the complexities of the human experience.

    Beyond the Music

    ESHIN’s commitment extends beyond his artistry. As a motivational speaker under “The Unstoppable Nation,” he advocates for inclusion and equality. His performances have reached individuals with learning disabilities and autism, emphasizing that everyone deserves access to the healing power of music.
    “Everybody deserves good music, and zero tolerance for discrimination,” he asserts. This ethos drives his mission to create spaces where all can find resonance and refuge in sound.

  • Soto Gallery partners Ecobank, AFC, Craneburg for second +234 Art Fair

    Soto Gallery partners Ecobank, AFC, Craneburg for second +234 Art Fair

    After a remarkable debut, Soto Gallery, in partnership with Ecobank Nigeria Limited, Africa Finance Corporation (AFC), and main sponsor Craneburg Construction Company, successfully hosted the second edition of the +234 Art Fair. The event, held from March 27 to March 30 at the Ecobank Pan African Centre in Lagos, showcased Nigeria’s vibrant artistic talent and reinforced the growing influence of the creative industry.

    Speaking on Ecobank’s involvement, Ms. Omoboye Odu, Head of SME Partnership and Collaboration at Ecobank, emphasized the bank’s commitment to solving Africa’s financial inclusion challenges by supporting SMEs across different sectors, including the creative industry.

    “One of the strongest sectors we’ve identified is the creative sector. We’ve seen the success of Afrovibes, Afrobeats, Nollywood, and now the art space. The art market is estimated to be worth over $7 billion, with North America having the largest stake. How can the African market, with the talents we see, evolve to take that place? That’s where Ecobank comes in. We provide a platform by working with people in the art space to give them that voice and access to financial acumen in this large market.”

    She further highlighted the bank’s ongoing partnership with Soto Gallery, which began with the first edition of the +234 Art Fair last year, stating that it has had a significant impact on young artists across Nigeria.

    The 2024 edition of the fair, themed “Championing Patronage”, focused on encouraging art enthusiasts to support artists beyond traditional collecting. Tola Akerele, Founder of +234 Art Fair and Soto Gallery, explained the importance of patronage in the art ecosystem.

    “What does it mean to be a patron? We are looking at how to support artists. There are so many things we can do—give them space to work, mentorship, and many other forms of support. We really want to encourage artists in Nigeria. We want people to understand that you don’t have to be a collector to be a patron. You can buy a piece from a friend who is an artist in the university. We have the most amazing artists, and we want to encourage them here in Nigeria, so they can eventually go global.”

    The fair featured a diverse range of exhibitions, including a Children’s Art Gallery curated by Segun Oni, which showcased artworks created by young talents.

    “All the artworks here were made by children, and we have a curative board that selects the best of them. This was a very popular session last year, which is why we were given a bigger space this year. We had about 250 pre-registered students from multiple schools across Lagos, including Charter House Lagos, Greenwood House School, and Toydam School,” Oni revealed.

    To ensure the highest quality of artistic representation, the +234 Art Fair team conducted an open call and outreach to discover emerging talents, particularly in universities across Nigeria. Toyin Laoshe, Project Director of +234 Art Fair, spoke on the selection process:

    “We organized an open call across the country, visited different states, and engaged with universities to select artists. It was quite a tasking experience because this year we were particular about quality. Despite the limited time for the open call, we received an overwhelming response and sourced some of the best talents who lacked opportunities to showcase their work.”

  • NOK Series 7: Oche beats four others to emerge overall winner

    NOK Series 7: Oche beats four others to emerge overall winner

    After a keenly contested final round of Next of Kin Series 7, an annual juried art project that is both a competition and art exhibition providing guidance, mentorship and support by Thought Pyramid Art Centre, Mr. Cletus Oche emerged the overall winner. 

    He defeated other four artists in the final five shortlist— Uhule Nguemo Martha, Okeke Maduabuchi, Olatunde Emmanuel and Ibrahim Abiola Falilat, after a hard-fought online voting process.

    He won a solo exhibition worth five million naira. His three works for the competition are Dreams of Defiants is ink on canvas (21×30 inches), Yet I will Be Lifted (33×45 inches, ink, acrylic on canvas) and Just as We Are (33×13 inches ink). 

    Oche is a multidisciplinary artist, whose practice blends hyperrealism, contemporary and surrealism, resulting in works that are constantly evolving through experimentation. A musician and multi-instrumentalist, he integrates the rhythm and emotion of music. 

    The grand finale of NOK Series 7, which witnessed the emergence of twenty selected artists from various artistic categories across the country, was held recently at the Thought Pyramid Art Centre, Ikoyi, Lagos.

    Reacting to the victory, Oche commended Thought Pyramid Art Centre for putting the competition together for artists to showcase their works and creativity. “As a matter of fact, I know this is the beginning of many more and better things to come,” he said.

    “I am extremely grateful for this opportunity to showcase my works and work with a lot of artists on this platform. It’s been a brilliant experience so far. I am most grateful to the reporters who showed their support online to help us to grow and scale this process. And to all the contestants, it’s been a pleasure being on the same platform with you all. We have created a community and I believe we can continue to push further to help ourselves to advance in our creative areas. We are all winners in this series as you can see,” he added. 

    The 20 shortlisted artists presented three of their best works at the grand exhibition. The second runner-up, Abiola Falilat, who was the first and only sculpture artist, is a graduate from the University of Ibadan. She uses stones to sculpt different visually appealing artworks. She also uses fibreglass, metals, clay, fabric and concrete for her work, exploring themes of curves, nature, softness and memory. 

    For Uhule Nguemo Martha’s work titled “Where do we go from here” (60×60 inches) she depicts the struggle of Nigerian youths who graduate, but still wander the street jobless and ready to japa.

    Olatunde Emmanuel, a Chemistry graduate-turned artist shows Identity Crisis (33×28 inches) to mirror the judgmental world we live in, where people believe that their body might be trapping their true nature inside. It speaks to people who now choose their identities based on their feelings. Meanwhile, the human gender is very original, authentic, natural and realistic, which means we are who we are more than who we say we are. 

    But, Okeke Maduabuchi, an Auchi Polytechnic graduate from Ebonyi State, presented Consolation of souls (48×60 inches) to show that a heart that has touched so many lives will live on, and in those it loved. The work seeks to canvass for a better society where love leads to togetherness and sharing one’s troubles. Exhibition Director and Initiator and Coordinator Next of Kin Mr Ovie Omatshola described the seventh series of the Next of Kin exhibition, as a celebration of artistry, creativity and resilience that defines the very core of Thought Pyramid Art Centre. 

    He noted that for the programme to have reached its seventh series, and is expanding for the second time beyond Nigeria to other African countries, is a testament to their unwavering commitment to promoting the visual arts, even in the face of Nigeria’s current economic uncertainties.

    “This expansion speaks directly to the spirit of perseverance that runs deep at Thought Pyramid Art Centre. In these times of challenge, we continue to push forward with determination, sacrificing where necessary, to sustain and motivate the brilliant visual artists who are not just creating works of art, but masterpieces—works that will continue to resonate decades from now, leaving us in awe. For 18 years, we have dedicated ourselves to seeking and promoting the most transcendent Nigerian and, more recently, African art. It is an honour to note the impact this journey has had,” Omatshola said.  

    According to him, whoever emerges as the winner will not only be crowned as the champion of Nigerian and African art, but will also take their place among those who have dared to push boundaries, to elevate the art world with their innovation and vision. 

    “The 19 other finalists too, whose works have faced a rigorous review by our esteemed jurors, have truly set a new standard for what it means to create with passion, skill, and purpose. As always, we extend our deepest gratitude to our long-time partner, Nigerian Machine Tools, for being with us since the beginning of this journey. 

    We also thank Planet Bottling Company, whose support in this historic venture is invaluable, and Trustbanc, whose consistent and essential assistance has been key to our success. There is still much to be done, and we will continue to forge ahead, promoting and celebrating the extraordinary artists who shape our world,” he added.

    Head of Corporate Affairs and Communications of Nigeria Machine Tools, Danyu Aishat, said the company believes in empowering young artists through the Corporate Social Responsibility initiative. “We value the transformative power of arts and creativity. We believe when you have an item, you can make something profound from it. Hence our attraction to art. As a manufacturing company, we deal with raw materials and the process of turning raw materials into finished tools and machinery. We believe that every artist can utilize their skills to produce something extraordinary for the world to see,” Danyu said.

    The Head of Institutional Sales, Trust Bank, Mr. Samuel Akpenyi said the bank is happy to partner Thought Pyramid to provide young artists with a platform to showcase their skills: “We all know that art is a big deal now, as it contributes to the economy. We have positioned ourselves as the bank with an artistic mindset, supporting young talented artists and showcasing them to the world.”

    The NOK Series initiative was conceived to contribute to the development of fresh talents. From its inaugural edition in 2018, the platform has given young talented artists the vocal voice, platform and support to achieve big things. It was created to plan and prepare the future of visual art in Nigeria by discovering from the hoard of current emerging visual artists, one who possesses that peculiar artistic originality and creative disruptiveness with transcending futuristic ability and traits.

  • ‘When art, environment speak to peoples’ resilience’

    ‘When art, environment speak to peoples’ resilience’

    Director-General, National Gallery of Art, Bashir Sodangi, has urged Nigerians to explore the dynamic interplay between art and nature as well as appreciate the natural world not as a passive backdrop, but as active participant in the unfolding drama of climate change. 

    He said the mangroves, with their intricate network of roots and branches, are nature’s silent sentinels, which serve as formidable guardians against storm surges, as vital carbon sinks, and as rich habitats for diverse species.

    He noted that yet, they are on the front line of a climate crisis that threatens to unravel the delicate balance of our coastal ecosystems. Theirs, he said, is a story of resilience and vulnerability, a narrative that speaks directly to the human experience in times of change.

    The Director General spoke at the opening of Dr. John Ed Debebs’s solo exhibition tagged Intersecting Worlds of Climate Change: the Mangroves and Art, featuring paintings, drawings, and water colours. It was held recently at West Tower, The Wings Office Complex, Victoria Island, Lagos.   

    Also on display along with the artist’s paintings are about 36 photographs of the mangrove forests by the Curator Mr Oriiz Onuwaje,

    He stated that the exhibition presents an opportunity for all to engage in a dialogue, expressed through the visual arts about one of the most pressing challenges the world faces today- climate change–and the role of nature as embodied by the resilient mangroves. 

    According to him, Dr DeBebs has drawn inspiration from the captivating beauty and the urgent plight of the mangroves, adding that the works of art are not mere representations, but rather profound commentaries on the Niger Delta mangroves. 

    “Through vibrant colours, evocative imagery, and innovative forms, each piece invites us to explore the dynamic interplay between art and nature, urging us to see the natural world not as a passive backdrop but as an active participant in the unfolding drama of climate change.   

    “Art has long been a mirror that reflects our hopes, dreams and fears. These paintings allow us to witness how creativity and the environmental sciences intersect; how brush strokes, colours, and canvas speak to the resilience of nature and the urgent need for its protection. 

    The mangroves, with their intricate forms and essential roles, become powerful symbol of the broader environmental challenges we face, as well as a beacon of hope for regeneration and renewal,” he said.   

    Sodangi observed that the images on display challenge everyone to reimagine our relationship with the natural world as they call upon us to consider that our response to climate change is not solely a scientific or political endeavor, but also a deeply human one, rooted in empathy, beauty, and a commitment to safeguarding the planet for future generations. He noted that in the works, there is a vivid reminder that art has the power to ignite conversations, our emotions, and inspire action. 

    He expressed delight at the collaboration between the National Gallery of Art, Crimson Fusion Curators, and the National Council for Climate Change, which he said, promises to bring immense benefits to Nigeria. 

    “A space has been created where art, environment, and science converge, where the dialogue about climate change is enriched by creative expression. We are encouraged not only to reflect on environmental challenges but also to celebrate the indomitable spirit of nature and humanity alike. 

    “Let these images of winding roots, flowing water, and vibrant landscapes prompt you to reflect on your own connection to nature. Ask yourself how, in your own way, you can contribute to the collective effort to protect these vital ecosystems. Whether you are an artist, a scientist, a policymaker, or a passionate citizen, you are an essential part of this conversation. 

    “Today, as we stand at the intersection of art and environmental stewardship, let us remember that every action we take, no matter how small, can contribute to a broader wave of positive change. May this collection serve as a catalyst for reflection, discussion, and, ultimately, meaningful action in our communities,” he added.

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    Sodangi who is very passionate about art and has continued to drive this narrative has championed several partnerships and collaborations with sister agencies and the private sector all in the bid to ensure that visual art takes it rightful position and contributing to Nigeria’s Gross Domestic Product (GDP).

    “Art as a medium of expression is used to draw stakeholders attention to the global issue of climate change. Climate change is an important topic around the world and the artist has used his paintings and installations to draw global attention.

    The exhibition is very timely especially as it speaks directly not only to the issues of degradation in the Niger Delta, but also it’s beautiful and exciting coastlines and mangrove forests, including the need to protect and preserve them. 

    The Niger Delta mangrove is the largest in Africa and the third largest in the world, and so the NGA as an institution saddled with the business of art have a duty to get stakeholders attention and ensure it doesn’t go into extinction. Materials like wood from the mangrove forest are used by artist and so you can see the need for the advocacy,” he said.

  • Survival of the Fittest: Comparing Post-Apocalyptic Characters in Films and Games

    Survival of the Fittest: Comparing Post-Apocalyptic Characters in Films and Games

    Apocalyptic settings breed stories of grit and resilience, the kind of narratives where characters aren’t just surviving; they’re evolving. In both films and video games, the post-apocalyptic genre gives rise to complex protagonists shaped by devastation, loss, and necessity. Yet the medium heavily influences how these characters are portrayed and how audiences connect with them. Let’s explore how post-apocalyptic characters are constructed across films and games and why their differences matter.

    Defining the Post-Apocalyptic Archetype

    Survivors in apocalyptic worlds often share core traits: adaptability, emotional detachment, raw physical skill, and a moral compass constantly tested. But these traits manifest differently in interactive and passive storytelling formats.

    In film, character arcs are tightly directed, often focusing on the psychological toll of survival. Think Max Rockatansky from Mad Max — a lone drifter hardened by loss, haunted by memories, surviving more on instinct than hope. His actions unfold in a visual, symbolic way, designed to be interpreted rather than altered.

    In games, character development can be partly shaped by the player. Joel from The Last of Us isn’t just a scripted protagonist — he’s an avatar for the player’s choices. His transformation from a detached smuggler to a protective father figure is immersive because players experience it gradually, through action, consequence, and connection.

    Medium Matters: Film vs. Game Storytelling

    Element Film (e.g., Mad Max, Resident Evil) Games (e.g., The Last of Us, Fallout)
    Story Structure Linear, pre-written arc Player-driven, branching possibilities
    Character Engagement Emotional, interpretive Immersive, interactive
    World Exploration Fixed locations, visual set-pieces Expansive, explorable environments
    Emotional Investment Based on performance and cinematography Based on control, choice, and time spent

    Films rely on performance, visuals, and soundtracks to convey emotion. Games, on the other hand, create emotional stakes by giving players control — not just over the story’s direction but over the rhythm and method of survival itself.

    Complex Survivors: Joel, Max, Alice

    Let’s break down how three major post-apocalyptic characters compare across their respective media:

    Character Medium Key Traits Growth Arc
    Joel (The Last of Us) Game Grizzled, pragmatic, emotionally guarded Becomes emotionally open through fatherly bond
    Max (Mad Max) Film Stoic, haunted, physically dominant Struggles to reclaim his humanity
    Alice (Resident Evil) Film Tactical, fearless, ethically driven Evolves from civilian to powerful symbol of resistance

    While Max represents the archetypal drifter and Alice becomes a near-mythical savior, Joel’s arc is more intimate. He’s fallible, often unlikeable — but real. The gaming format allows players to influence or at least embody his path, making his journey resonate differently.

    Interactive Apocalypse: Games Offering Unique Perspectives

    Beyond characters like Joel, the gaming world has shown remarkable creativity in constructing apocalyptic narratives. One intriguing direction is the blend of slot mechanics with thematic storytelling. Post-apocalyptic online slots like those featured in a NoLimit City Demo offer a surprisingly vivid lens through which to examine the genre. These games tap into the iconography and energy of destruction and survival, often with cinematic animations that echo the chaos of their settings.

    While they’re not narrative-driven in the traditional sense, these slots use atmosphere, design, and pacing to convey a post-apocalyptic mood. They open up another angle to explore how digital media experiments with these themes, even in non-narrative formats. For those studying the intersection of gaming and apocalypse tropes, these video slot demos can be unexpected but valid resources.

    Survivor Archetypes in Film and Gaming

    Characters tend to fall into recognizable survivor types. Here’s a list that spans both mediums:

    • The reluctant protector who is often older, hardened, and tasked with protecting a child or innocent (Joel, Logan).
    • The avenger who is motivated by loss and is focused on revenge or justice (Ellie, Furiosa).
    • The loner who is withdrawn, distrustful of others and prefers isolation (Max, Courier from Fallout: New Vegas).
    • The savior who sees a larger purpose in survival and often takes leadership (Alice, Aloy).
    • The morally conflicted, who struggles with guilt and often makes controversial choices (Lee from The Walking Dead, Rick Grimes).

    Each of these roles interacts differently with the world around them. The gaming format enhances this by placing the player in the character’s shoes — forcing them to make choices that affect not just outcomes but moral identity.

    Why This Comparison Matters

    In understanding the divide between film and game storytelling, we uncover how post-apocalyptic characters are molded not just by the world around them but by the medium that presents their story. Films excel at distillation — showing transformation in tight arcs and symbolic gestures. Games, on the other hand, give players the burden of survival — demanding participation, endurance, and emotional investment.

    That fundamental difference shapes the characters we remember. Max is a myth. Alice is a hero. Joel is someone we’ve walked beside, bled with, and maybe disagreed with — and that makes him something else entirely.

    The strength of the post-apocalyptic genre lies in its universality. Whether you’re watching it unfold in a movie theater or navigating it with a controller in hand, the theme remains clear: survival reveals who we truly are deep in our hearts and souls.

  • Reliving an innovative partnership where art meets science

    Reliving an innovative partnership where art meets science

    Just back to his Abuja base, Obi Nwaegbe relives the highlights of his stirring exhibition and presentation at the Salisbury Lab of the University of Cambridge, UK. The exhibition, titled The Roots of Resilience, ran concurrently with a three-day conference from March 26 to 28. This event showcased innovative solutions to pressing global challenges, featuring the work of key partners, including the JR Botek Foundation.

    Unveiling a decade of groundbreaking work, the JR Botek Foundation, led by visionary founder Carol Ibe, a Gates Foundation scholar with a PhD, took centre stage at the exhibition. Ibe’s pioneering efforts in agriculture and climate change highlight innovative solutions that prioritise farmers’ needs. The foundation’s work, including initiatives like AGRIIP – the Agri-Innovation & Impact Project, was presented in a dynamic and engaging way, demonstrating its commitment to finding effective solutions to pressing global challenges.

    Shedding light on the intricate relationships between climate change and agriculture, the exhibition offered a thought-provoking experience for visitors. As climate change continues to pose significant challenges to African agriculture, with rising temperatures and unpredictable rainfall patterns, farmers are finding ways to adapt and innovate. Their determination and resourcefulness are at the heart of The Roots of Resilience, as evident in their stories, innovative farming practices, and creative solutions. The exhibition’s message is clear: collective action is needed to build a more sustainable future.

    Transforming perspectives and inspiring action, The Roots of Resilience exhibition left a lasting impact on its audience. By highlighting the resilience of African farmers and the importance of collective action against climate change, the exhibition served as a powerful reminder of the potential for collaboration, innovation, and human ingenuity to drive positive change. Nwaegbe’s presentation echoed this message, as he expressed his gratitude for the opportunity to share his thoughts with a distinguished audience at the University of Cambridge. His words conveyed a deep sense of purpose, underscoring the significance of the exhibition’s themes and the need for collective action to address the complex challenges of climate change. Standing at the podium, Nwaegbe was mindful of the university’s rich history and the privilege of sharing his insights with a critical science audience.

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    Illustrating the power of interdisciplinary collaboration, Nwaegbe’s presentation highlighted his fruitful partnership with Dr. Ibe, founder of the Biotek Foundation. Their shared commitment to environmental sustainability had given rise to a unique and impactful alliance, one that seamlessly bridged the gap between science and art. Nwaegbe reflected on the long-term nature of their collaboration, noting that they had independently worked with young students to promote environmental sustainability before joining forces. His words conveyed a sense of excitement and purpose, as he emphasised the potential for transformative change through their combined efforts. “Today, we are working together, she as a scientist and I as an artist, towards the same goals. I firmly believe that this synergy across our professional fields holds tremendous social, environmental, and economic promise.”

    Captivating his audience with an impassioned presentation, Nwaegbe drew them into the possibilities of his innovative partnership with Dr. Ibe. His artwork, showcased during the three-day event, told a powerful story about the far-reaching consequences of climate change and environmental degradation. One piece, “Climate Change and Land Displacement,” conveyed the devastating impact of environmental disaster on communities, evoking feelings of desolation and loss. The painting’s haunting landscape served as a stark reminder of the consequences of human activity on the environment. Another work, “Greenhouse Gases & Sustainable Agriculture,” offered a scathing critique of industrial agriculture’s role in climate change, depicting a sprawling industrial complex as a symbol of environmental neglect. The desolate landscape that surrounded the complex underscored the urgent need for sustainable practices.

    Evoking a sense of contrast, “The Unpredictable Harvest,” the third piece in the series, presents a striking vision of two disparate worlds. The left side of the painting depicts a barren landscape, characterised by a withered tree and a farmer struggling with desperation. In contrast, the right side of the painting is a vibrant and thriving environment, where a lush farm seems to defy the devastation that has ravaged its counterpart. This striking juxtaposition highlights the critical choices that face us and underscores the importance of adopting sustainable practices to secure a viable future.

    Thus, in a powerful synthesis of art, science, and collaboration, The Roots of Resilience has created a dynamic and thought-provoking experience that inspires and informs. By bringing together the perspectives of African farmers, the expertise of scientists, and the innovative creativity of artists like Nwaegbe, this exhibition has issued a call to action that resonates deeply. As the world grapples with the unprecedented challenges of climate change, it highlights the transformative potential of collaboration – where human imagination, creativity, and collective effort converge in a powerful and harmonious way.

  • ‘Africa was my healing tonic’

    ‘Africa was my healing tonic’

    The journey of an American artist and storyteller, Ellen Stoecker is truly unique. From sailing the historic waters of Charleston, South Carolina in the United States of America to finding healing in Botswana in Southern region of Africa, her life has been shaped by history, compassion, and a deep love for animals. But Ellen’s creativity goes beyond writing, her art, made from discarded materials, pays tribute to Botswana wildlife conservation. In this feature, Chinyere Okoroafor explores the passion and purpose behind her work.

    In Nigeria, where modern life dances with age-old traditions and every name tells a story, Stoecker’s journey feels remarkably familiar. Even though she is a white American, her lifelong love for animals and nature echoes the heart of Nigeria’s own folklore. As a young girl, Ellen spent countless happy days playing with cats, dogs, and horses.

    Recounting her early beginnings with love for animals, Stoecker in an interview with The Nation said, “I can never remember a time when I have not been fascinated by wildlife.As a child I preferred the honest company of animals to humans, in particular cats, dogs and horses. They were my playmates. Just the sheer mechanics of an animal, the intricate orchestra of just a single species to another fascinated me.”

    Those early moments, watching a cat chase a butterfly or a dog run freely in the yard, filled her heart with warmth and taught her about the beauty of life.

    Just like many Nigerian children who grow up listening to folk tales of animals with human hearts, Ellen learned that every creature has its own story. This simple connection with nature sparked a passion that would guide her for years to come. As she grew older, her love for wildlife led her on adventures that took her far from home, from the historic shores of Charleston, South Carolina to the vast, healing landscapes of Botswana.

     “Charleston, where the past and present meet in a complicated joy, had seduced me. It was where I decided to settle,” Stoecker said.

    In that city, she saw not only beautiful architecture and peaceful seafronts, but also a history of human suffering that still echoed in the streets. For her, the memory of enslaved Africans, who came to Charleston in chains, lingered in every corner. It was in this mix of beauty and haunting history that Stoecker found inspiration to tell a unique story.

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    A few years into her new home, she faced a turning point in her life. A powerful storm, called Hurricane Hugo, a Category 5 hurricane, destroyed her home, “The hurricane meant business and I felt mother nature wanted to punish the city for its past sins by devastating it, I lost everything but I was young and adventurous, a friend had family in Botswana so off we went, selflessly returning when the city got back on its feet.”

    According to her, it was in Botswana that she discovered a new kind of healing and was touched by the vast, open landscapes and the strength of nature.

    “I earnestly feel that if a place brings you true joy, it becomes a part of you. Africa was that place for me, it was a healing tonic. It was the later part of 1980 and those several months exploring and meeting those lovely Africans, I felt for the first time I belonged. The geography, the wildlife in particular some young Elephants I had the pleasure of caring for and the kindness of complete strangers. Africa washed away the shame I had felt with unconditional love and unfathomable beauty. It is odd but just the rhythm of time seemed to change within me.The gratitude I feel for Africa is limitless, would I be here today without this experience I do not know.”

    When news came after she had left Botswana that many elephants had been killed for their ivory, Stoecker’s heart ached. “When I heard of the elephants killed, I couldn’t help but wonder if “little eggplant”, now grown, was among them,” she said. That sadness and worry deepened her commitment to protect wildlife and preserve their stories.

    After her time in Africa, Stoecker returned to the United States. She settled on Sullivan’s Island, a small island in South Carolina known for its natural beauty and its painful history. Sullivan’s Island was once a gateway for enslaved Africans.

    According to her, It was said that over half of all African Americans have an ancestor who passed through Sullivan’s Island,” she said.

    In the past, Stoecker explained that sick and weak enslaved people were kept in pest houses on the island before being sent to Charleston to be sold. Today, Stoecker said that Sullivan’s Island is a quiet, beautiful place and, ” The most expensive real estate on the Southeast coast. I would like to point out that we cannot blame a geography for what man decides to do on that earth. I would not like Sullivan’s Island to appear sinister for the sins brought to its soil.”

    Rescuing feral cats on the island, she saw another parallel between nature and history. The island had many abandoned, feral cats. These cats, often seen as unwanted or useless by others, reminded her of the forgotten history of the land. She became deeply involved in animal welfare, going so far as to defy local authorities in her efforts to save them. “I spayed and neutered over 60 cats,” she recalled. “The animal control police were not happy about it… I almost got arrested twice for setting the cats free”

    One evening, surrounded by her rescued animals, an idea struck her, “I want to write a children’s story about these cats and the dark history of this island.” She wanted to use the simple eyes of the animals to tell the story of the transatlantic slave trade. Her plan was to show how animals can remember and speak of history in a way that even children can understand.

    That idea grew and grew until it became the book The Afrikan Feral Cats of Sullivan’s Island. She spent many years working on the book.

    In fact, it took her ten long years to finally publish it.

    But Ellen does not stop with writing. She is also a passionate artist. Her art is full of colour and emotion, much like the traditional paintings and textiles found in Nigeria. Inspired by great artists like Jean-Michel Basquiat and Andrew Wyeth, Ellen creates art using recycled materials. She collects old shoes, fabric scraps, broken belts, and discarded handbags. With these items, she creates beautiful mosaics and quilted patterns that tell their own stories. Each piece of her art is named using African words to keep the memory of the past alive.

    “My art is used to bring awareness to things that I care about,” she explained.

    Her latest art work is a tribute to the Botswana 87—elephants that were killed for their ivory last summer. The project showed her deep care for wildlife. In many African cultures, animals are more than just creatures; they are symbols of strength, wisdom, and resilience. She uses her art to remind us of that truth.

    These brave women protect the largest population of elephants in Africa. “Women are the guardians of Africa’s future,” she said. “They are the ones who fight when no one else will.” This idea of strong, caring women is very much in line with the values many Nigerians hold dear.

    Stoecker’s voice, though from a different part of the world, speaks to us all. “When we forget the past, we silence those who came before us,” she said. Her art and writing ensure that the voices of those who suffered will never be lost. They remind us that every story, no matter how painful, deserves to be told.

    Stoecker’s book ‘The Afrikan Feral Cats of Sullivan’s Island,’ is not just a story for children; it is a bridge between the past and the present. Through the eyes of feral cats, she shows the painful history of the slave trade in a simple way. Much like Nigerian griots, who pass down history through stories and songs, Stoecker uses her book to keep the memories of those who suffered alive. In her story, the cats do not just live; they speak, remember, and fight for a better future.

    The story takes place in Sierra Leone, where a wild cat named Tau and his son, Abioye, love sneaking onto large European ships in search of food. One day, they board a ship with their friend Kamaria, and everything suddenly goes wrong.

    In Nigeria, where old traditions and modern life meet, Stoecker’s story is like a mirror reflecting our own rich history. Just as Nigerian storytellers use folk tales to teach lessons and preserve heritage, Stoecker uses her book and art to keep a memory alive. Her work shows that history is not just something in the past, it lives on in every name, every story, and every piece of art.

     Stoecker’s journey stands as a powerful lesson in resilience. Her life shows that regardless of our background or the challenges we face, we all possess the strength to create, remember, and inspire. Through her work, Stoecker urges us to view history with clear eyes and to value every small act of kindness that contributes to our healing. Her storytelling and art deliver a clear, profound message: while our past may be marked by pain, it also carries the seeds of hope for a better future.