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Omuku’s choice to use sanyan initially came from a place of necessity but has now become an integral part of her practice. “I worked on canvas for a little while, but eventually shifted to working on sanyan, which is a pre-colonial Yoruba textile,” she told 【 - Free Wealth-Building Investment Strategies 】 in a video call, adding that she “made the switch” after eight years of studying in the UK. “I was trying to rediscover myself and my identity,” she said. “When I moved back to Nigeria, I couldn’t find high-quality canvas, and I was also really fascinated by how, as Nigerians, we identify ourselves through our clothes.” However, she found sanyan more appealing than other more contemporary fabrics because of when it was made. “I was introduced to it by a friend when I was in Lagos and had this deep connection with the textile on many levels,” Omuku said. “I’d never seen a pre-colonial Nigerian textile before, and it looked quite similar to linen.”

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Omuku’s initial intention for the fair was to paint “uninterrupted landscapes,” but it became increasingly more difficult for her to do this as images of “chaos and fighting” were “flashing through my mind like nightmares.” These motifs and explorations have become more prevalent since returning to Nigeria after studying at the Slade. Omuku said she initially focused on her own interiority but noticed “a huge mental health crisis” in the country. “And that’s when I started thinking a little more about the collective,” she said. “How we were experiencing things as Nigerians, how we’re going through trauma and corruption and political unrest, and all of these things that happen every day that we live in and with.”

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