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Curator's Note

One plane parked, one lifting away: the two halves of every trip home. Anth Ezeokoye spells the airport's name across the terminal exactly …

Curator's Note

Before it was a square it was a racecourse, and the horses never left. Anth Ezeokoye puts the rearing horse statues at the centre of the gr…

Curator's Note

Clement's feminist is a woman who builds the life of her dreams, carries a man's load and keeps a woman's kindness. He paints that double s…

Curator's Note

Fortune shoots from board level and lets the near pieces dissolve. Out of the blur stands one white pawn, flanked by a black pawn and a bla…

Curator's Note

Her eyes are closed, and that changes everything. She is not surveying a court; she is somewhere inward, chin lifted, a queen with no need …

Curator's Note

A homage in the caricaturist's language: Fela at the keys, eyes shut, smoke curling, a spotlight from one side and fire rising on the other…

Curator's Note

Lagos is a city held together by its crossings, and Anth Ezeokoye gives one of its newest landmarks the same affection as its oldest. In Ma…

Curator's Note

Heiwa is Japanese for peace, and Ezeh crowns the drawing with heavy block characters above a hand rising out of swirling waves. Then a ribb…

Curator's Note

For Yeko, the mask is where a people and their gods meet. Source draws a face in profile built entirely from pattern, cowries, eyes and wav…

Curator's Note

Of Toni Kuyinu's three royals, only the king keeps his eyes open, and he wears round wire glasses. A thoroughly modern young man, crowned w…

Curator's Note

In the rest of Made in Lagos a yellow sun shines over the scene. Above the Central Mosque, Anth Ezeokoye turns it into a crescent moon. It …