By Prisca Sam-Duru
At the core of Nigeria’s internationally acclaimed artist, Onyema Ofoedu-Okeke’s recent works now showing at Truview Arts and Frames Gallery, Ikoyi, Lagos, is the need for true leadership.
The exhibition of timeless art by Ofoedu-Okeke titled “Time of Redeemer”, opened on Wednesday, October 1, coinciding with Nigeria’s 65th Independence commemoration.
The month-long exhibition features 27 breathtaking works from the master artist’s 2025 collection.
Offoedu-Okeke, also a writer and architect who has made tremendous impact on Nigeria’s art landscape, in this solo exhibition, explores the Nigerian story: from post-colonial struggles to present-day challenges. The artist’s thought-provoking reflections make the strongest element of the exhibition not only about the country’s chequered history but its troubling present and uncertain future.
Time of Redeemer blends together the history, politics, and struggles of a 65-year-old country still grappling with leadership issues.
Viewers are immersed in the collection of masterful and insightful works where the artist explores the intersection of colours, textures and emotions.
Renowned for his ingenuity in blending African traditional aesthetics with abstract and cubist techniques, Ofoedu-Okeke’s works are distinguished by bold color pallets, layered in translucent patches that generate vibrancy and rhythm.
Striking titles in the body of work include, the title piece, “Time of Redeemer”, “Trial of Oligarchy” (Acrylic on Canvas, 48″ x 48″, 2025), “Technocracy I & II” (Acrylic on Canvas, 36″ x 48″, 2025), and “Mass Agitation” (Acrylic on Canvas, 48″ x 48″, 2025), “Fire of Change” (Acrylic on canvas, 48” x 48”, 2025), “Wind of Change” (Acrylic on Canvas, 48” x 48”, 2025), “Persistence of Oligarchy” ( Acrylic on Canvas, 48” x 48”, 2025).
Each work demonstrates his ability to balance abstraction and representation resulting in art pieces that are visually striking as well as profoundly resonant, reflecting on topical themes with mostly socio political commentary.
In “Persistence of Oligarchy” the artist paints a Rolls Royce immersed in elements that can portray protest materials. “The Rolls Royce automobile brand figurative conveys visual power condensed from instances of social-political privilege, citation of fiscal might, and the ultimate icon of class distinction.” In the post-period of social revolution staged by masses of fringe dwellers, the rules of political engagement lie beneath pools and floods of manuscripts. They screamed out against tyranny by the elite class. Undaunted, “the elites and oligarchs plow their controlling instruments through the dense heaps of political placards, rhetoric and subversive postures.”
“Locomotive Ideation” is another very captivating art piece on display. A figure with each hand dropping by the sides has his bicycle on the head. Even without the gloomy face, observers will notice that all is not well. An object that is supposed to convey the owner to a destination is instead being given a lift. This piece could well explain the sad reality of life for a Nigerian today.
The title piece “Time of Redeemer”, the artist explained, depicts a grand entrance of a man on horseback — a symbol of hope, power, and paradox in Nigeria’s search for a true leader.
“So far, in its 65 years, Nigeria still awaits the arrival of anyone upon whom the attire of a quintessential political redeemer fits well,” he stated. The manner of appearance alternates from the most unassuming carriage to the most sophisticated transporter. Reflectively, modes of appearance cast in paradoxical settings such as horse rider, rolls Royce passenger, etc, underlines concerts of events surrounding such emergence.
This work portrays how every time a new leader emerges, the people are sort of overjoyed but afterwards things remain the same. “The new leader makes a remarkable appearance on the scene. With him comes a retinue, a whole entourage of hope. You see, the colours explode here. The appearance of a new regime is oftentimes met with an explosion of joy and expectation of governance,” he explained.
Nigeria’s 65-year journey, he noted, still mirrors the early expectations of pre-independence nationalists. Till date, the expectation for a true redeemer is yet to materialize.
Truview Arts and Frames Gallery described the exhibition as both a celebration of artistry and a mirror to Nigeria’s reality. “Onyema Offoedu-Okeke’s painstaking dedication is evident in every work. Each canvas tells a story, balancing abstraction with representation and pushing conversations beyond aesthetics into culture and politics,” the gallery stated.
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