Nigeria is a nation where communal living is deeply ingrained in our culture. From bus drivers and street hawkers to wheelbarrow pushers and tyre repairers, every individual depends on cooperation to maintain a peaceful and functional community.  A new Nigeria will emerge when we extend this simple but powerful value; working together in harmony, into every profession and sector across the nation

Together, We are Nigeria

This photograph was taken on a Friday evening, from the intimate vantage point inside a keke napep on my way to Bodija. For a fleeting moment, the familiar landscape transformed, shimmering with an unexpected elegance. Bodija, often perceived solely as "local" suddenly revealed an inherent sophistication, a richness in its textures and vibrant energy that resonated with the aesthetic of Bottega Veneta. It might not be Italy, but that day, the spirit of exquisite craftsmanship, unique identity, and understated luxury I associate with Bottega was undeniably present in the heart of Ibadan. This image challenges the gaze that often dismisses or stereotypes Nigerian spaces. It's a re-framing. It asks us to see the inherent beauty, the intricate details, and the profound character that already exists within our everyday environments.

BODIJA BOTTEGA

this is the green white green they wanted us to love and embrace. the green that is a paradise of grass, and the white that is dotted with cows. cows that are not marching forward, but backward.  yet, somewhere beyond the dust and backward steps, i imagine another nigeria; one that learns from its stumbles. a place where movement is not just motion, but direction. where the green grows for all, and the white no longer stains, but shines

green white green

A couple of kids washing their nets by the waters in low tide

Net washing

Group of fishermen bagging their catch to deliver to clients who had made orders or to the person who had contracted them

Force of Labour

Most people who pass here are so consumed by the prospects of the destination, that they fail to notice the excellence of the journey, and the uniqueness of the trail. I couldn’t ignore it, and after seeing where this road led, I was glad I took the time to enjoy the simple joys of the road. The green field up ahead is Nigeria's biggest highland tea plantation. It is an amazing place, and thousands of people have endured the difficult journey up the Mambilla plateau just to see it.  All of them tell tales of the plantation with loads of pictures to prove, but very few remember what the road to Kakara looks, or feels like. This image was taken on my first of many trips to Kakara, before I ever set eyes on the plantation itself. And till today, I find the view of this road from this spot more impressive than the plantation itself. We miss out on a lot when we focus only on the destination.  should all try to enjoy the road sometimes.

The road to Kakara

I captured this anachronistic scene on the Lagos-Ibadan expressway and deliberately styled it to feel like a lost photograph from another era—a myth for our time. The title, "A New World, An Old Power," speaks to the powerful fusion at the heart of the image. Here, a modern man, the architect of a new world, is propelled by the raw, timeless energy of an old power—the horse. This image challenges our linear idea of progress. It suggests the future isn't about discarding our heritage, but about finding innovative ways to integrate it. The strength of the past becomes the engine for the road ahead. This rider is a 21st-century pioneer, demonstrating that true innovation lies in this synthesis. A new world is possible not when we erase what came before, but when we have the vision to ride it boldly into the future.

A New World, An Old Power

visions

Egbiameje Omole performs Pankere in Glitter, a work confronting the traumatic and emotional stakes faced by non-binary and queer people in Nigeria under hostile legal and social regimes. In Yoruba, pankere refers to the cane once used by guarantors to discipline children, a symbol of the violence and regulation imposed on queer bodies from childhood through adulthood. Omole’s performance reclaims this memory, transforming it into a spectacle of resilience. By drawing on the legacy of cross-dressing and queer icons of the past, the work resists erasure and insists on presence. Captured on a mist-covered hill, their red, glittering outfit vibrates against the muted landscape. The movement appears frantic, almost ritualistic, an act of defiance against invisibility, a demand for recognition. This image embodies the weight of law on queer lives in Nigeria while celebrating the persistence of joy, survival, and visibility against the forces that seek to constrain them.

In Glitter VI 

This is Abeokuta, the gateway state, The land adorned delicately with adire; a tapestry of colourful patterns and geometric shapes. Surrounded by rocks, The fortress of its gods echoing the songs of victory. Abeokuta, the mother of the playwright, the musician, the actor, the leader the home of the greats.

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