Visual Artist Redefines ‘Owambe’, Calls for Authentic Storytelling in Nigerian Art

Funmi Ogundare

A Visual Artist, Funlola Oyewo, has called for greater originality and authenticity as the Nigerian art scene continues to evolve.

She urged artists to remain true to their creative identities rather than producing works driven solely by commercial considerations.

Oyewo made this known at her solo exhibition, ‘Owambe Series: Wedding Guests’, closing party, held at the Terra Kulture, in Lagos, weekend.

She spoke on the direction of contemporary art in Nigeria, noting that although public appreciation and engagement with art are growing, the sector’s long-term sustainability depends on artists prioritising honest self-expression and innovative storytelling.

“I like where art in Nigeria is going, in the sense that more people are starting to appreciate it,” she said. “But we need more originality. We need more people being true to themselves and not just doing what they think will sell. Money is important, but not at the expense of originality.”

Speaking with THISDAY, the artist, whose practice aligns strongly with cubism and geometric art, described originality as the foundation of meaningful artistic growth.

According to her, works that emerge from personal truth and reflection are more likely to resonate deeply with both local and international audiences.

Oyewo’s recent body of work, ‘The Owambe Series: Wedding Guests,’ she noted, reflects this philosophy.

Rooted in Nigeria’s vibrant celebration culture, the series deliberately departs from the loud music, energetic dancing and visual excess often associated with owambe events.

Instead, Oyewo reinterprets these social gatherings through stillness, muted movement and quiet observation.

“I love owambe; the music, the dancing, the festivities, but it can be over-stimulating for me,” she explained. “So I mute everything. The music becomes quieter, the movements slower, and then I’m able to observe things people don’t usually associate with owambe, the stillness, the countenance of guests, their quiet but loud expressions.”

She said the approach allows viewers to encounter familiar cultural experiences in an unconventional way, inviting them to pause, reflect and connect with the subtler emotional layers embedded within communal celebrations.

Beyond weddings, Oyewo revealed plans to expand the series to include naming ceremonies, birthdays and other cultural expressions, as well as to explore how owambe is experienced across different cultures.

She stressed that her work is not intended as mere visual display, but as an invitation to deeper thought and emotional engagement.

Emphasising the creative process, the artist noted that the series has helped her better understand her own artistic identity.

“I realised that this body of work is simply a reflection of who I am,” she said. “You can’t help who you are as an artist.”

The curator, Saheedat Lawal, explained that the exhibition deliberately moves away from the noise, movement and spectacle typically associated with owambe celebrations, and instead centres on the quieter, often overlooked psychological and social dynamics that unfold within wedding spaces.

“When Owambe comes to mind, we often think of loud music, spraying money and people dancing endlessly,” Lawal said. “But this series asks us to sit with the quieter moments, the side-eyes, the silent judging, the forced smiles and the subtle competition that doesn’t need sound to be loud.”

According to her, there was immediate alignment between Oyewo’s artistic vision and the narrative direction of the exhibition, even before the physical works were produced.

That synergy, she added, allowed the exhibition to focus on storytelling rooted in shared social experiences rather than spectacle.

A key segment of the exhibition was a panel discussion where guests expressed delight about Oyewo’s creativity, originality and intentionality.