Exploring the life and art of Ajibike Ogunyemi, a leading Nigerian sculptor whose metalworks preserve Yoruba spirituality through contemporary expression.
The image depicts a striking metal sculpture created by Ajibike Ogunyemi, one of Nigeria’s most respected contemporary sculptors. A native of Osogbo, Osun State, Ogunyemi is widely known for his mastery of metalwork and his connection to the New Sacred Art movement, which blends traditional Yoruba spirituality with modern artistic innovation. His works embody the living relationship between art, religion, and identity in southwestern Nigeria.
Early Life and Cultural Background
Ajibike Ogunyemi was born and raised in Osogbo, a historic Yoruba city celebrated for its rich cultural traditions, craftsmanship, and devotion to the goddess Osun, the deity of fertility, love, and rivers. Growing up in such an environment, Ogunyemi was surrounded by a thriving community of artists, carvers, and craftsmen inspired by Yoruba cosmology.
His artistic journey began under the influence of the Osogbo art movement, a collective of Nigerian artists who redefined African art during the mid-20th century. This movement was notably influenced by Austrian artist and priestess Susanne Wenger, who, along with local collaborators, revitalised the Osun-Osogbo Sacred Grove through sculpture, painting, and shrine design. Ogunyemi’s deep appreciation for Yoruba spirituality and his natural skill in metalwork positioned him as one of the heirs to this enduring legacy.
The New Sacred Art Movement
Ogunyemi’s association with the New Sacred Art movement is central to his identity as an artist. Founded in the 1960s by Susanne Wenger (Adunni Olorisha) and a circle of Yoruba artists, this movement sought to restore and preserve the sanctity of Yoruba religious sites, especially the Osun-Osogbo Grove — now recognised as a UNESCO World Heritage Site.
The group’s members, including artists like Adebisi Akanji, Buraimoh Gbadamosi, and Jimoh Buraimoh, dedicated their craft to creating sculptures that depict Yoruba deities (Orisha) and mythological scenes. Ogunyemi emerged as one of the prominent sculptors of the second generation of this movement, known for his bold use of metal as a primary medium.
His works often feature symbolic forms inspired by Yoruba cosmology — serpents representing transformation, birds symbolising divine messages, and human figures embodying ancestral spirits.
Artistic Style and Medium
Unlike earlier Yoruba sculptors who primarily used wood, Ajibike Ogunyemi is known for his innovative use of metal. His sculptures often feature welded iron sheets, rods, and recycled materials, shaped into elaborate forms that reflect both spiritual and environmental awareness.
The choice of metal not only represents strength and durability but also connects to Yoruba notions of Ogun, the god of iron and war. In many of his works, Ogunyemi subtly references this deity, celebrating the spiritual power of metal as both a creative and protective force.
Through texture, scale, and rhythm, his sculptures evoke a sense of movement and ritual energy — as if the figures themselves are engaged in eternal dance with the divine.
Connection to Yoruba Religion and Symbolism
Ogunyemi’s art draws deeply from Yoruba mythology, where every creation embodies a link between the physical and spiritual worlds. His pieces are not merely decorative; they are ritual instruments designed to maintain the balance between humanity and the gods.
Many of his sculptures are installed within the Osun-Osogbo Sacred Grove, where they serve as guardians of shrines, paths, and altars. These works continue the Yoruba tradition of sacred art — not confined to galleries but integrated into daily worship and community life.
By reimagining traditional forms in modern materials, Ogunyemi ensures that Yoruba spirituality remains relevant in the 21st century.
Legacy and Influence
Ajibike Ogunyemi’s contribution to Nigerian art goes beyond aesthetic innovation. His work symbolises the continuity of Yoruba culture amid rapid modernisation. Through his sculptures, he has bridged generational and cultural gaps, ensuring that sacred Yoruba symbols remain alive in the global art scene.
He has exhibited his work both locally and internationally, contributing to Nigeria’s growing reputation in contemporary art. Many of his pieces are preserved in museums, galleries, and spiritual sites, particularly in Osogbo, where his artistic journey began.
Ogunyemi is often described as one of the spiritual successors of Susanne Wenger, continuing her mission to protect and celebrate Yoruba sacred spaces through art.
References
1. UNESCO World Heritage – Osun-Osogbo Sacred Grove
2. Drewal, Henry John. Yoruba Ritual: Performers, Play, Agency. Indiana University Press, 1992.
3. National Commission for Museums and Monuments (Nigeria) – Artists of the Osogbo School.
4. African Arts Journal, Vol. 35, No. 2 (2002) – The Osogbo Artists and the Sacred Grove Tradition.
A timeless coming-of-age novel that explores character formation, humility, and the transformative power of discipline in postcolonial Nigeria.
Published in 1973, The Potter’s Wheel by Chukwuemeka Ike remains one of the most celebrated Nigerian novels of the 20th century. Set in Eastern Nigeria, the novel captures the cultural values of discipline, humility, and moral upbringing in a society adjusting to modern life after colonialism.
Chukwuemeka Ike, a distinguished Nigerian author and educationist, was known for blending humour and realism to examine the social and moral challenges of postcolonial Nigeria. In The Potter’s Wheel, he uses a simple yet powerful story to reflect on how society shapes individuals — much like a potter moulds clay into form.
Plot Summary
The story revolves around Obuechina Maduabuchi, fondly called Obu, a pampered and mischievous young boy from Umuaro village. As the only son of wealthy parents, Obu grows up indulged and undisciplined. His father, unwilling to watch his son become wayward, decides to send him to live with Mr. and Mrs. Okonkwo, the strict village schoolmaster and his wife, so that he can learn discipline, hard work, and respect.
At the Okonkwos’, Obu’s life takes a dramatic turn. Gone are the days of comfort and pampering; instead, he faces chores, stern correction, and strict routines. The Okonkwos, acting as moral potters, begin to mould the once-spoiled boy into a responsible young man.
Through several trials — from cleaning, running errands, and attending school to facing punishments for his stubbornness — Obu gradually learns humility, patience, and self-control. By the end of the story, the young boy who once resisted correction becomes a model of discipline and maturity, proving that moral transformation is possible with firm guidance.
Themes and Symbolism
1. Discipline and Moral Upbringing
At its core, The Potter’s Wheel is a moral tale about discipline. It highlights the African belief that character formation is a communal responsibility — that “it takes a village to raise a child.” The Okonkwos’ home becomes a moral training ground where Obu learns that freedom without restraint leads to self-destruction.
2. The Role of Education
Ike, himself an educationist, presents education not merely as formal schooling but as character development. Mr. Okonkwo’s firm yet purposeful methods reflect the role of teachers in shaping both intellect and morality.
3. Transformation and Growth
The metaphor of the potter’s wheel symbolises the process of transformation. Just as a potter moulds clay through pressure and patience, so too must humans be shaped by experience, discipline, and correction. Obu’s journey represents the broader human struggle to overcome flaws and embrace maturity.
4. Authority and Obedience
The novel also explores authority and the tension between individual will and societal expectations. Obu’s resistance to authority mirrors the youthful rebellion common in changing societies. However, his eventual submission signifies a reconciliation between self and structure — between freedom and responsibility.
Characterisation
Obuechina (Obu): The protagonist whose journey from a spoiled child to a disciplined youth embodies the book’s moral lesson. His transformation is gradual and believable, showing Ike’s deep understanding of human behaviour.
Mr. Okonkwo: The stern yet fair schoolmaster who symbolises moral authority. His character represents the older generation’s commitment to discipline and integrity.
Mrs. Okonkwo: A balance to her husband’s firmness, she shows compassion and maternal care, ensuring Obu’s training does not break his spirit.
Obu’s Parents: Loving but overindulgent, they represent the dangers of unbalanced parenting and the consequences of excessive pampering.
Style and Language
Chukwuemeka Ike’s storytelling combines wit, humour, and realism. His use of simple English, interspersed with proverbs and local expressions, gives the novel an authentic Nigerian flavour. The narrative tone is didactic but engaging, making the story accessible to both young and adult readers.
The novel also reflects the transitional era of 1970s Nigeria — a time when traditional values were being tested by modern influences. Ike’s balanced portrayal of tradition and modernity gives the story enduring relevance.
Cultural and Educational Significance
The Potter’s Wheel has long been a staple in Nigerian secondary schools, not only for its literary value but also for its moral lessons. It reflects core African philosophies about communal upbringing, respect for elders, and the importance of moral discipline.
Through Obu’s transformation, readers are reminded that character is not inherited but nurtured — a lesson deeply rooted in African cultural ethics. The book’s title and metaphor beautifully encapsulate this idea: humans are clay, and life is the potter’s wheel on which they are shaped.
About the Author: Chukwuemeka Ike
Vincent Chukwuemeka Ike (1931–2020) was born in Anambra State, Nigeria. He studied at the University of Ibadan and later served as an educationist, university administrator, and traditional ruler. Ike’s literary works often explore themes of education, morality, and social reform.
Some of his notable novels include Toads for Supper, Sunset at Dawn, Expo ’77, and Our Children Are Coming. His works remain influential in both academic and cultural discussions of Nigerian literature.
The Potter’s Wheel is more than just a story of a mischievous boy — it is a timeless reflection on human growth, discipline, and the communal values that shape moral character. Through Chukwuemeka Ike’s engaging prose, readers are reminded that true maturity comes from patience, humility, and correction.
Like clay in a potter’s hand, we are all being moulded by life’s experiences — shaped, refined, and made stronger with every turn of the wheel.
References:
Ike, Chukwuemeka. The Potter’s Wheel. London: Heinemann Educational Books, 1973.
Emenyonu, Ernest N. The Rise of the Igbo Novel. Ibadan University Press, 1978.
Guardian Nigeria, “Remembering Chukwuemeka Ike, the Educationist Novelist” (2020).
President Bola Tinubu has nominated Dr Bernard Mohammed Doro from Plateau State as a Minister of the Federal Republic of Nigeria.
This was contained in a letter transmitted to the Senate for confirmation, according to a statement issued on Tuesday by Bayo Onanuga, Special Adviser to the President on Information and Strategy.
Doro’s nomination follows the election of Prof. Nentawe Yilwatda, former Minister of Humanitarian Affairs and Poverty Reduction, as the All Progressives Congress National Chairman in July.
PUNCH Online compiles information about the ministerial nominee.
Political background
Bernard Doro is a community leader involved in politics in Nigeria and the UK, where he has lived for a long time.
He serves as the financial secretary of the APC UK chapter. He was appointed in June 2024.
Doro is part of the committee that organised the Nigerian Diaspora Investment & Cultural Summit 2024, which took place in Birmingham from December 4 to 7, 2024
There are rumours that he seeks the Plateau North Senatorial District seat in 2027, but he has not formally declared his intention.
Educational and professional background
Doro holds degrees in Pharmacy and Law, an MBA focusing on IT-driven business strategy, and a Master’s in Advanced Clinical Practice.
He is an independent prescriber and an advanced clinical practitioner, with frontline roles across urgent care, walk-in centres, GP practices and hospitals.
Beyond clinical duties, he has led youth mentorship and social-impact initiatives in the diaspora and at home, focusing on skills development and community empowerment.
He holds membership in local and international professional bodies, including a fellowship in the Institute of Mortgage Brokers and Lenders of Nigeria and membership in the Royal Pharmaceutical Society.
Humanitarian
Beyond politics and professional life, Doro has also led youth mentorship and social impact initiatives in the diaspora and local communities.
He founded Doro Vision Farmers’ Seed Fund, an initiative aimed to empower Plateau North, Plateau State farmers by providing financial support to enhance their cultivation efforts.
He was honoured with the Award of Excellence and Humanitarian Service by the Asiwaju Nationwide Organisation on 11th October 2025.
Origin
Doro was born on January 23, 1969, in Kwall, Bassa Local Government Area of Plateau State.
Senator Ned Nwoko has broken his silence following a viral video showing his wife, actress Regina Daniels, in distress, describing her recent actions as “drug-influenced” and “unprovoked carnage.”
In a lengthy post and a short video shared on his Instagram handle #princenednwoko on Sunday, Nwoko claimed the actress was battling drug and alcohol abuse, which he said was at the root of the crisis rocking their marriage.
“Regina was not always like this. Her current battle with drugs and alcohol abuse is the root of our problem.
“She must continue her rehabilitation programme, or I fear for her life and safety,” he wrote.
The senator alleged that Regina went on a violent rampage at their home in his absence, attacking staff and destroying property.
“She slapped and hit three staff in the past 48 hours and destroyed property, including cars and windows, for no just cause.
“Now she has moved to a place where she will have unrestricted access to drugs,” the senator alleged
Nwoko said he had offered his wife two rehabilitation options in Asokoro or Jordan, “where she will not have access to drugs.”
He further alleged that the scene at home was worsened by the interference of Regina’s associates, whom he described as “drug suppliers.”
“While I took Moon to the hospital, a scene of chaos unfolded at home, orchestrated by Sammy, Regina’s main drug supplier.
“Another known supplier of drugs to Regina is the tiny evil devil called Ann,”he alleged.
His post came hours after PUNCH Online reported that a video of the actress, visibly agitated and shouting during a confrontation, had gone viral on Saturday, sparking widespread concern.
In the footage, Regina could be heard saying, “In Ned Nwoko’s house, I am nothing, but in my own house, I am a Queen. Not again. I can’t stand the violence, it’s too much.”
Her brother, Ojeogwu Samuel Danhillman, popularly known as Sammy West, also reacted angrily on Instagram, accusing Nwoko of assaulting his sister and vowing to defend her.
“Anywhere wey man dey beat woman, whether na my sister or not, I go fight with my blood,” he wrote.
The cause of the altercation remains unclear, as neither Regina nor her representatives have publicly responded to Nwoko’s allegations.
Regina Daniels, who married Nwoko in 2019, has often been in the public eye alongside the politician and businessman.
The couple’s marriage, marked by a 40-year age gap, has long drawn public attention and debate.
