Evening.
Evening.
The sun is setting.
The night is falling in Ile Ife.
For many years after I arrived in the United States, whenever I slept, I would dream of Ile Ife.
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Evening.
The sun is setting.
The night is falling in Ile Ife.
For many years after I arrived in the United States, whenever I slept, I would dream of Ile Ife.
“There’s nobody who will see this place and not be afraid,” the two men on the bike said this morning as they stopped and kept looking at our newest installation at the Àkòdì Òrìṣà.
Bí ìwọ́ bá ṣe rere, ara kì yíò ha yá ọ? I wonder where I got that quote from. Is it a Yoruba proverb?
I wouldn’t be surprised if it was from the Bible.
“Oloriburuku! Were! Olosi! Alakori!” Road rage yelling coming from all angles.
I am covered in sweat as I sit patiently behind the wheel.
The AC of my truck has broken down. And the automatic window winder is not working. But my sweat glands are working.
Things are happening rapidly in Nigeria.
Terrorism has fully found a home in the southwest.
Who attacked Sunday Igboho’s house, destroyed the place and left human blood and tissues all over the property?
Igboho’s house has become a monument to the struggle for freedom, independence and peace in Africa.
ÌMỌ́DÒYE
An Akodi Orisa Sculpture
Ile Ife, Nigeria
January 2019
Artist: Moyo Okediji
II The doctor is Seyi Ogunjobi, an artist in residence at the Obafemi Awolowo University’s Center for Cultural Studies. He has been assisting me to build the ÀKÒDÌ ÒRÌṢÀ. At the exact time the police was storming the construction site of the ÀKÒDÌ ÒRÌṢÀ, Ogunjobi, a Leeds doctorate in creative arts, was moderating a discussion in the lecture theater of the Center for Cultural Studies, at the Obafemi Awolowo University campus. Part of the seminar series of the center where Ogunjobi works, his duties include hosting the seminar series, at which invited guests presents on a regular basis. Yesterday, Ogunjobi was moderating a seminar that I presented, titled, “Invisible Canvas: Painting as Performance in Ile Ife.”
We are getting close to the end of the architectural sculpture.