a picture showing moyo okediji poised for the camera

Selfie

ByMoyo Okediji

Reminds me of a painting by Parmigianino, titled SELF PORTRAIT IN A CONVEX MIRROR, painted circa 1524 during the Renaissance. In the painting, the convex mirror from which Parmigianino is painting places the artist’s hand at the forefront of the composition, in a manner that exaggerates the hands, thus proclaiming the powerful quality of the craftsmanship within the hand of an artist.

a picture of moyo okediji working on a art piece

My first month

ByMoyo Okediji

My first month in the United States, 1992.

I began to paint in my office at the University of Wisconsin-Madison.

I was trying to discover myself again in a new world after leaving behind Nigeria and everything that was meaningful to me, everything that had anchored me.

a section of the akodi orisa

IV

ByMoyo Okediji

“The Police Area Commander (AC) is interested in the case,” a police officer with a cellphone said. “He just called to say that he is now at his seat, and wants to see all of you in his office.” The AC’s office was about one hundred meters across the yard, from where we were seated. We all filed into the AC’s office. He was seated, and his large desk was decorated with pictures, flags and small objects with personal sentimental values. He was a handsome middle-aged man who seemed rather too pleasant looking to be a police officer. Not until he stood up did I realize that his gait was forward-leaning, with the robust physique of a football tackler. You wouldn’t want to be in his way despite his handsome mien.

III

III

ByMoyo Okediji

Arresting house. The house, because it is so arresting, led to my arrest as its owner and builder. They came to arrest the house—not just the architect.

The house is the culprit. They came to place it behind bars. They had no problems with setting the designers and builders free as long as they are able to lock away the arresting building.

a sction of the akodi orisa

II

ByMoyo 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.”