The artist’s works, created without Western influence and admired by all, are vivid reflections of their deep connection to their culture and environment.
The last remaining grandees of the Osogbo School,” as writer and editor, Molara Wood described them in her essay, ‘The Art of Oshogbo’ in the book accompanying ‘Nigerian Modernism’ — the landmark exhibition at Tate Modern ongoing till May 2026 — were in high spirits when I met them at their hotel in Central London on the evening of Thursday, October 9 2025.
Chiefs Jimoh Buraimoh and Muraina Oyelami, along with textile artist Chief (Mrs) Nike Okundaye, had been loudly celebrated at the exhibition’s official opening the previous day. The two men are the last surviving members of the 1963/1964 Osogbo art workshops organised by the late German scholar and anthropologist Ulli Beier and his wife Georgina.
Other notable members of the group included Adebisi Fabunmi, Taiwo Olaniyi Osuntoki (Twins Seven-Seven), Rufus Ogundele, and Jacob Afolabi. The late Ashiru Olatunde had previously trained with the Beiers. Mrs Okundaye, artist, textile designer, and gallerist, who was once married to Twins Seven-Seven, attended a later workshop alongside Senabu Olatunde and Kikelomo Oladepo. She is widely recognised as part of the celebrated Osogbo group that helped bring Yoruba art and culture to global prominence.
The other distinct Osogbo group is the New Sacred Art Movement, comprising those mentored by Wenger. They included Adebisi Akanji, Sangodare Ajala, Ajibike Ogunyemi, Buraimoh Gbadamosi and Rabiu Abesu.
The trio had arrived in the United Kingdom on Sunday and were departing later that night. Having missed the opening ceremony due to a prior commitment, Chief Buraimoh was only too eager to share how it went.
“I was amazed by the turnout. It was a massive crowd that came to see our works, especially since they are old creations that most people don’t have access to,” explained the muralist and bead painter who first visited London in 1965 with Oyelami as members of the Duro Ladipo Theatre Group.
In the ‘Nigerian Modernism’ exhibition, the Osogbo artists’ works, which occupy two rooms, stand out for their unique features.These works, created without the influence of Western artists, are a testament to the artists’ deep connection with their culture and environment.
Buraimoh reiterated this while sharing how the opening went: “We are original artists who created works from our minds; no one influenced us. We are eight exhibitors, and none of our works resembles each other. I’m happy to be part of the exhibition. It’s historic and unfolding on the international stage, which certainly adds to its weight. We have all exhibited in individual shows across the UK, but this is a massive exhibition showing all other art movements in Nigeria.”
Apart from himself, Oyelami and Mrs Okundaye, also known as Mama Nike, other Osogbo artists on showcase are Bisi Fabunmi, Sangodare Ajala, Twins Seven-Seven, Georgina Beier and artworks by Wenger. Their exquisite works in the show have already attracted reviews in major Western publications.
However, a common worry among art lovers, particularly followers of the Osogbo Art Movement, is what will become of it after Buraimoh and Oyelami go the way of all mortals. Will Osogbo Art survive?
Buraimoh assured that their eventual passing won’t be the end of Osogbo art. “Apart from two of my children following in my footsteps, I have trained over 60 other artists in textile and painting, and marketing their works on the internet. I received a grant from the American Embassy to train artists in 2019 and again last year. I don’t entertain any fear about the future of Osogbo art because I have trained about 70, 80 people who are in turn doing excellent work.”
Like Buraimoh, Chief Oyelami, the Eesa of Iragbiji, hailed the ‘Nigerian Modernism’ exhibition. “It’s a positive development in further popularising Osogbo art, and I’m joyous to be part of it. The works being shown are those I made several years ago.”
He expressed happiness with the hands-off approach to the 1960s workshop organised by the Beiers and their collaborators. According to him, they were not prescriptive but allowed the artists to express their creativity freely. “There was never any time during the workshops that they said, ‘Look, what you’ve done is not right.’ If they were satisfied with the work, they commended you. If they thought it needed improvement, they would ask you to look at it again. They wanted us to develop our inner eyes, and over time, we did. We knew when an artwork needed further improvement. Amongst ourselves, we visited each other and engaged in what you could term peer review. We all became better for this approach.”
It’s worth noting that both octogenarian artists are still active, a testament to their unwavering dedication to their craft.
Mama Nike praised the organisers for putting on the show, hailing it as “most impressive” and an outstanding achievement for Nigeria. She was also wowed by the turnout, estimating the attendance at thousands.
“This exhibition is a great achievement for Nigeria and all the featured artists. Nigeria has always made Africa proud when it comes to creativity, and we are doing the same with this exhibition,” said the textile artist, whose four works in the show are her very early embroidery
Like her male counterparts, the gallerist also does not joke with training. She has centres in Osogbo, where she trains 180 students in textile arts quarterly, and Kogi State.
Reflecting on her journey, Mama Nike expressed gratitude to the Osun goddess for her blessings. “I never knew that art could feed me and earn revenue for the nation. This is a dream come true, and I am grateful to the Osun goddess whose images adorn my textile creations, including the one being shown in this exhibition. When the Mayor of London, Sadiq Khan, visited Nigeria in July and came to our gallery, he was surprised by the 25,000 art pieces we have at Lekki. He was also excited when I told him Nigerian artists would be in London for the exhibition. We are here now, and it’s an excellent feeling to see viewers appreciating our works.”
Printmaker, painter and sculptor, Professor Bruce Onobrakpeya, who also benefitted from the Osogbo workshops but is classified among the Zaria School, was also in London for the exhibition. His work, expectedly, was not included in Osogbo Art.
Described by Wood in a post after the opening as “walking histories, cultural touchstones, potent representatives of Yoruba culture and arts, great ambassadors of Nigeria”, the trio embody the enduring spirit of the Osogbo School. Meeting them again, just before their flight home, was an honour and a privilege.
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