From Eden to Ecocide
A Tale of Human Impact
Returning back to Eden from Ecocide with Enotie Ogbebor
This exhibition focusses on the painting From Eden to Ecocide: A Tale of Human Impact by Nigerian artist Enotie Ogbebor. The work reflects rising public awareness and anxieties about the future of the Earth, exploring the evolving relationship between humans and the environment, from co-existence to the brink of extinction.
Painted during his Artist Residency at MAA from April to May 2023, Enotie draws on years of discussions with museum staff about the collections from Benin and beyond. His residency was sponsored by the project Taking Care: Ethnographic and World Cultures Museums as Spaces of Care. As part of this initiative, Enotie’s painting explores the connection between ethnographic collections and pressing questions regarding the climate crisis and the Anthropocene, placing ethnographic and world culture museums at the heart of the search for sustainable planetary futures.
Presented as a triptych, From Eden to Ecocide tells the story of the ancient Kingdom of Benin (located in present-day Edo State, Nigeria) and the environmental damage it faces in an era of increasing mechanization and commercialization. The painting also suggests a path toward a sustainable future. Through Enotie’s work, we can learn how to restore historically eco–friendly relationships with our environments. His framework emphasises the importance of art in anthropological spaces to address present concerns by reconnecting with their extensive pasts.
By setting his piece in Okomu National Park (ONP), Nigeria, Enotie explores how prehistoric, historic, colonial, and postcolonial relationships have impacted and ultimately devastated the local landscape. While the climate crisis affects the planet on a global scale, its negative impacts disproportionately harm already vulnerable communities and their environments, including Indigenous and historically colonised populations. This intensifies global inequalities and insecurity.
All quotes and references in the exhibition text to Enotie are drawn from his interview with the University of Cambridge in 2023, and personal correspondence with the artist.
Enotie Ogbebor, From Eden to Ecocide: A Tale of Human Impact Panel I, acrylic on canvas (2023). MAA 2023.18.1
Enotie Ogbebor, From Eden to Ecocide: A Tale of Human Impact Panel I, acrylic on canvas (2023). MAA 2023.18.1
A Geological Timeline
From left to right, Enotie explores the evolution of the relationship between humans and the land, beginning with adaption and culminating in destruction.
Take some time to explore the first panel in the triptych.
Rich fauna frames two dinosaurs.
Across the panel, there is a gradual evolution from a crouching monkey to a standing human.
The human figure is a woman, subverting the typical patriarchal depiction of evolution to include women, without whom creation—and therefore the evolution of the human race—would be impossible.
Devolution, Enotie Ogbebor. Oil on canvas. 2018. Private Collection
Devolution, Enotie Ogbebor. Oil on canvas. 2018. Private Collection
Enotie also manipulates the traditional evolutionary narrative in other works, such as Devolution. While From Eden to Ecocide suggests forward momentum and evolutionary progress, Devolution reverses this direction. The figures move from right to left, seemingly regressing from man back to monkey. Enotie addresses the 'misconduct of mankind,' expressing his fervent 'hope that we can still turn back from the brink of destruction.'
The central panel is an explosion of colour and animals. How many different animals can you spot?
In the Kingdom of Benin, specific animals are traditionally used to symbolise concepts of power, strength, and status.
Hidden in the trees, we can see the Ahianmwẹ-Ọrọ bird, also known as the bird of prophecy.
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Ahianmwẹ-Ọrọ. Image credit: Digital Benin. Ahianmwẹ-Ọrọ. Image credit: Digital Benin. |
Ahianmwẹ-Ọrọ, refers to a bird with a long beak, whose cry was believed to foretell the future. In the Kingdom of Benin, the Edo people regarded it as a messenger from the spirit world. |
Ahianmwẹ-Ọrọ. The bird of prophecy, depicted as an ibis with outstretched wings, was used as an idiophone by chiefs during the Oro festival, (Ugie Oro), when the beak is struck to make a sound. Copper Alloy. 14th-19th century. Oba's Palace, Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Donated by William Downing Webster. MAA 1902.439
Ahianmwẹ-Ọrọ. The bird of prophecy, depicted as an ibis with outstretched wings, was used as an idiophone by chiefs during the Oro festival, (Ugie Oro), when the beak is struck to make a sound. Copper Alloy. 14th-19th century. Oba's Palace, Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Donated by William Downing Webster. MAA 1902.439
An elephant stands boldly beneath the branch where these birds perch. Elephants, known for their longevity, were regarded as wise and strong leaders in the Kingdom of Benin, symbolising chiefdom. The elephant is specifically related to the rebel chief Iyase n'Ode who unsuccessfully attempted to overthrow the king, Akenzua I. According to oral tradition, Iyase n'Ode could transform into an elephant to defeat his enemies.
Aken’ni Elao. Altar tusk. Elephant's tusk carved with three encircling bands of interlaced strap work. Ivory. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Auctioned at Stevens Auction Room, donated by Professor Anthony Ashley Bevan. MAA E 1902.96
Aken’ni Elao. Altar tusk. Elephant's tusk carved with three encircling bands of interlaced strap work. Ivory. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Auctioned at Stevens Auction Room, donated by Professor Anthony Ashley Bevan. MAA E 1902.96
Ivory was considered a royal material, valued for its durability and believed to embody the power of the elephant.
Beneath the elephant stands a proud ẹkpẹn (leopard), also depicted in profile. The ẹkpẹn is particularly significant in the worldview of the Kingdom of Benin. The ẹkpẹn n’oha (wild leopard) was often compared to the Oba (ekpen-n’owa, the house-leopard personified). The significance of the ẹkpẹn will be further explored in this exhibition.
White-throated guenons swing through the trees. Also known as red-bellied monkeys, they are native to the rainforests and tropical regions of western Nigeria.
A lion emerges from the vibrant yellow backdrop.
Crocodiles lurk in the water. In the Kingdom of Benin, they were believed to be the 'policemen' of Olokun, the god of the water.
Three Ibis perch in the trees.
Butterflies flutter across the canvas.
A chameleon stands out in vivid green against the red background.
Leopards and panthers lurk in the depths of the jungle.
And a flock of Alcedo leucogaster (white-bellied kingfishers) flies between the yellow and pink planes dividing the jungle scene. These birds are native to parts of equatorial West Africa, including Nigeria.
The environment thrives. Although humans are absent from the canvas, their presence is implied through the evolution depicted in the previous panel. Here, our relationship with the natural world is symbiotic, leaving no negative impact on the planet.
Did you spot any animals that we missed?
Compare the previous panel and this final canvas in Enotie's triptych. The once beautiful natural scenery is starkly disrupted, depicting a descent from the earlier state of natural equilibrium.
The painting is invaded by thick plumes of smoke.
Trees have been felled, deep purple indicating their lifelessness.
The warm yellow light that once diffused through the jungle in the central panel is replaced here by a mechanical yellow glow from the artificial lights of the sprawling urban city that has overtaken the forest.
A deep red road cuts vertically through the panel, distorting the city's depth. The road leads us through the urban landscape to skyscrapers that tower above the pollution. The wealthy rise above the risks posed by the climate crisis, highlighting global inequalities, as the negative impacts of the crisis disproportionately affect the financially vulnerable.
The deforestation depicted in the final panel directly mirrors the large-scale destruction currently affecting the remaining rainforests in the ONP. As the ‘last stronghold’ for wildlife species such as the African buffalo, deforestation threatens to wipe out the already vulnerable native Nigerian ecosystem and its indigenous species.
'One thing that stood out for me is the incredible representation of flora and fauna motifs in the collections at MAA'
Colour as champion,
Colour as warning
During his residency at MAA, Enotie’s research played an instrumental role in its exhibition, Colour: Art, Science and Power held from July 2022 to April 2023. His use of bold color relationships is especially significant in his work, reflecting both the vibrancy of the Kingdom of Benin's culture and serving as a warning about the impacts of capitalism and colonialism on the environment and the artistic creation process.
Championing Culture
Painted in acrylic, the initial impression of Enotie’s work is one of intense sensory overload, with saturated, ebullient colors applied in thick impasto strokes. It appears as though Enotie has physically sculpted the paint. The background is awash in deep oranges, luminous yellows, bold pinks, and rich purples. Bright blue, green, and yellow accents stand out, deliberately unblended, against their equally kaleidoscopic surroundings.
Enotie’s use of abundant color draws inspiration from the beauty of artifacts from the Kingdom of Benin. He subverts the traditional forms of these objects into vibrant color to convey the liveliness of Benin's festivities and culture—something he believes is not fully captured by materials such as ivory, bronze, and wood. The vivid color passages express the energy and vitality of Benin culture. The beauty we encounter in the painting is meant to inspire the viewer, to 'awaken something within you' and encourage the protection of this knowledge and beauty. Color, in Enotie’s work, becomes a bridge between the contemporary people of Edo State and their ancestors, a way to preserve and pass down their culture to future generations.
In the media gallery below, you can see stunning images of the Igue festival, the annual festival of thanksgiving celebrated by the Oba and the people in preparation for the New Year. Alongside these visually striking photographs are the Benin bronzes cared for by MAA. How far do you agree with Enotie’s view that these artefacts fail to capture the vibrancy of Benin Kingdom's festivities and culture?
Ama. Fragment of a bronze plaque with warrior in high relief. 16th century. Copper alloy. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. MAA 1950.272.
Ama. Fragment of a bronze plaque with warrior in high relief. 16th century. Copper alloy. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. MAA 1950.272.
Kunle Ogunfuyi, some Benin High Chiefs exchanging pleasantries during Igue festival. Image Credit: Kunle Ogunfuyi, 2005
Kunle Ogunfuyi, some Benin High Chiefs exchanging pleasantries during Igue festival. Image Credit: Kunle Ogunfuyi, 2005
Eben. Ceremonial iron sword owned by a person of high rank. Iron. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. MAA Z 20437.
Eben. Ceremonial iron sword owned by a person of high rank. Iron. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. MAA Z 20437.
Titled chiefs dancing and paying homage to the Oba during the Igue Festival. Image credit: beninhistory.org
Titled chiefs dancing and paying homage to the Oba during the Igue Festival. Image credit: beninhistory.org
Bangle or bracelet formed from a tube of fabric covered with glass seed beads. Benin City, Edo State, Nigeria. Collected by Northcote Whitridge Thomas and donated by Professor Anthony Ashley Bevan. MAA Z 12028.1.
Bangle or bracelet formed from a tube of fabric covered with glass seed beads. Benin City, Edo State, Nigeria. Collected by Northcote Whitridge Thomas and donated by Professor Anthony Ashley Bevan. MAA Z 12028.1.
Ẹkpẹn. Figure of a leopard in bronze or brass, with collar of bells standing on a stone celt. Copper Alloy. 17th century. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Donated by William Downing Webster. MAA E 1902.454.
Ẹkpẹn. Figure of a leopard in bronze or brass, with collar of bells standing on a stone celt. Copper Alloy. 17th century. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Donated by William Downing Webster. MAA E 1902.454.
Igue festival. Image credits: beninhistory.org
Igue festival. Image credits: beninhistory.org
Carved camwood flute. Benin City, Edo State, Nigeria. Collected by Northcote Whitridge Thomas and donated by Professor Anthony Ashley Bevan. MAA Z 12063.
Carved camwood flute. Benin City, Edo State, Nigeria. Collected by Northcote Whitridge Thomas and donated by Professor Anthony Ashley Bevan. MAA Z 12063.
Igue Festival. Image credits: beninhistory.org
Igue Festival. Image credits: beninhistory.org
Image of Hyperolius Guttulatus (dotted reed frog), which uses bright colours to warn of its poisonous nature to ward off predators. Image credit: Reptiles Magazine.
Image of Hyperolius Guttulatus (dotted reed frog), which uses bright colours to warn of its poisonous nature to ward off predators. Image credit: Reptiles Magazine.
A Warning from our Future
With its bold appearance, the triptych infiltrates MAA with saturated color, urgently demanding our attention. The painting is not only a product of a vibrant culture but also a stark warning about humanity's future. Enotie’s use of bright colors as a warning mirrors the phenomenon of aposematism in the natural world—an evolutionary strategy where animals develop vivid appearances to deter predators by signaling their chemical toxicity. This can be seen in the dotted reed frog (Hyperolius guttulatus), a poisonous frog native to Nigeria.
Enotie’s use of heightened color serves a similar purpose, warning of mankind's own toxicity and the escalating danger we pose to ourselves. He emphasises the consequences of an anthropocentric mindset that equates environmental destruction with urbanisation, all in the name of so-called 'progress'.
Mechanisation
Mechanisation is a central theme Enotie addresses in this work, highlighting its destructive impact on the environment, as seen in the devastation of the natural landscape in the final panel. The triptych also reflects the influence of mechanisation on the art-making process, with lively smears of unblended synthetic acrylic paint emphasising the materiality of his colours. His vibrant composition draws on colour accents found in objects from Nigeria at MAA, such as the ultramarine blue of the Agere Ifa, a carved wooden container used in Yoruba divination to store sacred ‘ikin’ (palm or kola nuts). However, Enotie’s blue, with its metallic sheen, brings attention to the evolving figures and vibrant vegetation in his work.
While the traditional pigments used to color the Agere Ifa were ground by hand, Enotie’s paint is mass-produced, created through ‘largely automated, mechanised and industrialised’ processes that emerged during the 19th century alongside the Industrial Revolution.
Agere Ifa, used for storing divination equipment. Late 19th century. Wood and pigment. Donated by Mrs Mary Caroline Hughes and collected by Professor Thomas McKenny Hughes. MAA 1886.54.
Agere Ifa, used for storing divination equipment. Late 19th century. Wood and pigment. Donated by Mrs Mary Caroline Hughes and collected by Professor Thomas McKenny Hughes. MAA 1886.54.
Details of metallic blue acrylic paint applied to From Eden to Ecocide Panel I, MAA 2023.18.1
Details of metallic blue acrylic paint applied to From Eden to Ecocide Panel I, MAA 2023.18.1
'Residents of Uhiele, Odighi and Odiguetue communities in Edo State have lamented the devastation of their environment and loss of livelihoods resulting from deforestation by multinational firms in the area.'
'The texture of capitalism was a physical manifestation of the effect of industrialisation on painting'
Kirsty Dootson, 'The Rainbow's Gravity', London: Yale University Press, 2023
The thick viscosity of Enotie's paint captures his brushstrokes, and thickly drips down the canvas. His use of this paint enshrines the impact of industrialisation and colonialism on his physical working process.
The thick viscosity of Enotie's paint captures his brushstrokes, and thickly drips down the canvas. His use of this paint enshrines the impact of industrialisation and colonialism on his physical working process.
Enotie’s application of paint brings to life the global networks of labor that contribute to environmental degradation on a global scale. The unnatural, artificial appearance of his painting contrasts sharply with the once bountiful ONP he portrays. This separation between artist and material mirrors the growing disconnection between humans and the natural world, a divide that permeates both our daily lives and Enotie’s creative process.
The paint is applied thickly, capturing Enotie's vigorous brushstrokes and palette knife smears. As Kirsty Dootson noted, this new texture of paint, emerging with the 19th-century advent of manufactured colour, represents the ‘texture of capitalism.’ The physicality of Enotie’s technique, which makes his presence so visible in the composition, also encapsulates the capitalist forces that fueled colonialism and have led to the intense environmental degradation we now witness in the ONP.
Extinction in the ONP
As the title of the work suggests, From Eden to Ecocide is infused with a sense of looming disaster, with each panel centred around an extinction event.
65 Million years ago
In the first panel, two dinosaurs emerge from fervent brushstrokes amid the dense forest. These creatures were wiped out during the Cretaceous-Tertiary extinction about 66 million years ago, following a devastating asteroid impact.
1897
In the second panel, Enotie presents more recent extinction events that have occurred in the ONP. The first figure is a leopard with mythical blue and green spots. As Enotie himself notes, the forest leopard native to this region is now entirely extinct due to the extensive damage and colonial violence inflicted on Benin land.
2023
In the second panel, we also see forest elephants and white-throated monkeys swinging from branch to branch across the canvas. Both species, native to the ONP, have been declared endangered by the International Union for the Conservation of Nature. Their populations were decimated by hunting during the colonial period, following the 1897 British invasion of Benin.
Tick. Tock.
In the final panel, nature is extinct. The previously shallow and vibrant backgrounds, representing the vitality of Benin's landscape, are replaced by a deep composition of an endless urban sprawl. Vultures perch atop felled trees, a common symbol in popular culture of impending doom and death. They face the city, as though waiting for humanity’s imminent demise.
Enotie issues a warning, alluding to environmental journalist Elizabeth Kolbert’s theory of the ‘Sixth Extinction,’ suggesting that if we do not drastically change our actions and live more sustainably, we are headed toward this fate. Perhaps a fourth panel could follow, where humans are no longer present at all.
'The current extinction has its own novel cause: not an asteroid of a massive volcanic eruption but “one weedy species"'
By addressing these profound themes in his art, Enotie creates a framework for other artists to respond to current climate anxieties. From Eden to Ecocide critiques the 'self-indulgence' of traditional art history. In doing so, he echoes ecocritical art historians Alan Braddock and Esmee Garlake, who warn that escalating environmental crises threaten both the production of art and its scholarship. Enotie offers a model for artists and scholars to emulate when seeking to meaningfully address climate concerns through art.
'a painting can still be beautiful while offering uncomfortable narratives about human and non-human power dynamics'
Echoing Garlake’s observation, Enotie demonstrates that artists do not need to sacrifice aesthetic engagement in favour of social commentary.
Returning to Eden from Ecocide
Kola nut box in the shape of a ram's head with two horns. Benin City, Edo State, Nigeria. Collected by Northcote Whitridge Thomas and bought by Professor Anthony Ashley Bevan. MAA Z 12172.1-2.
Kola nut box in the shape of a ram's head with two horns. Benin City, Edo State, Nigeria. Collected by Northcote Whitridge Thomas and bought by Professor Anthony Ashley Bevan. MAA Z 12172.1-2.
Benin artefacts as new sources of knowledge
Enotie not only examines how the environment shifted From Eden to Ecocide, but also explores how we might return to Eden from ecocide. He seeks to understand how we can learn from our ancestors, who successfully fostered a sustainable relationship with the natural world. During his research in the archives, Enotie observed how these relationships were reflected in the Benin bronzes. Animals are depicted in various poses over the centuries, which he saw as evidence of his ancestors' close connection to animals, given their detailed observations.
Ẹkpẹn. Figure of a leopard in bronze or brass, with collar of bells standing on a stone celt. Copper Alloy. 17th century. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Donated by William Downing Webster. MAA E 1902.454.
Ẹkpẹn. Figure of a leopard in bronze or brass, with collar of bells standing on a stone celt. Copper Alloy. 17th century. Benin City, Edo State, Nigeria. Acquired during the Benin Expedition of 1897. Donated by William Downing Webster. MAA E 1902.454.
Importance of the Ẹkpẹn
Ẹkpẹn, or leopard figures, are prominently featured in the arts of the Benin Kingdom. In this depiction, the leopard is heavily stylised as a mark of respect, with its spots abstracted into a series of raised rings. The leopard, regarded as the king of the forest, was used to symbolise the Oba.
Enotie’s leopard is far more abstract, recognisable only by a scattered array of green and blue dots. Unlike the tangible, heavy materiality of the bronze, this leopard takes on a ghostly presence, almost engulfed by the backdrop. Its representation signals the decline of the species, now extinct.
A Historic WWF
During his study, Enotie discovered that the relationships between people, animals, and trees were governed by customs, taboos, and laws. These regulations helped maintain a sustainable relationship between humans and animals for centuries, preserving the cycle of life in the forest and the animal kingdom.
'You couldn't hunt pregnant animals'
'You couldn't kill during the seasons when they delivered'
'You couldn't kill baby animals'
'You couldn't kill more than you could carry'
Since the British invasion in 1897, these practices have been wiped out through ongoing cultural imperialism and the erosion of Benin City's heritage. Ancient trees have disappeared, and natural spaces are shrinking. The forest leopard, once the king of the jungle, is now entirely extinct.
The central panel alludes to this historical coexistence and mutual respect with nature. It not only reflects the past but also advocates for a return to the traditions that allowed flora and fauna to thrive alongside humanity. Enotie reintroduces traditional Nigerian narratives into the broader discourse on the Anthropocene and solutions to climate change. From Eden to Ecocide highlights the importance of localised approaches and Indigenous knowledge in addressing the climate crisis.
Identity
Enotie's personal identity is central to the triptych. From his bold, visible brushstrokes to his recurring signatures that span across all three panels, Enotie effectively embeds himself into the landscape of his work.
In this section, we will explore the significance of Enotie maintaining a clear artistic presence as a Nigerian artist from Benin City. His work is exhibited in a space that has historically erased the authorship and identity of the ancient Benin Kingdom from its artifacts, making his self-representation a powerful statement.
One: Number 31, 1950. Oil and enamel paint on canvas. Jackson Pollock. 1950.
One: Number 31, 1950. Oil and enamel paint on canvas. Jackson Pollock. 1950.
The paint drips in From Eden to Ecocide evoke the work of Jackson Pollock. While Enotie’s application of paint remains figurative, both artists convey a visual experience that brings the artist's physicality to the forefront.
The aesthetic of From Eden to Ecocide acknowledges the labor of Enotie as an individual Black artist, allowing the work to engage directly with the longer histories in which Black bodies have been stereotyped and homogenised.
Portrait of a Man in a Red Suit. Oil on Canvas. 1757-1761. Unknown artist.
Portrait of a Man in a Red Suit. Oil on Canvas. 1757-1761. Unknown artist.
Portrait of a Man in a Red Suit highlights the disturbing recentness with which Black bodies have been reduced to their race. Less than a century ago, in 1943, this painting was donated to the Royal Albert Memorial Museum by Percy Moore Turner under the title Portrait of an African.
By introducing a work imbued with his presence into MAA's galleries, Enotie reclaims dignity for Benin culture, denouncing the historic treatment of Black bodies and their artifacts in ethnographic collections, where the artistry of their creators was often rendered invisible.
'Broken human beings'
The historic erasure of the authorship of Benin Kingdom over its artefacts severs the connection between people from Benin City and their ancestors. The Benin bronzes were their ‘way of writing,’ and being divorced from these objects disrupted the cycle of knowledge passed down through generations. The mass killings, displacement, and looting of these objects created space for cultural imposition, such as the adoption of Western suits and ties for civil servants, despite their unsuitability for the African climate – what Enotie describes as creating ‘broken human beings.’
This erasure of authorship is notoriously exemplified in the provenance of the Ife Head. Discovered by German ethnologist and archaeologist Leo Frobenius, the freestanding brass head was assumed to be evidence of the ‘Lost Atlantis’ due to its exquisite craftsmanship and the advanced use of the lost-wax casting process. Frobenius, in his violent ignorance and contempt for Benin culture, attributed this Yoruba Oba portrait to mythological origins, further separating the Benin diaspora from their ancestral heritage.
Akhẹ. Clay pot described as "Juju jar". Placed full of water under a piece of bark to prevent thefts from gardens. Period unknown. Africa; West Africa; Nigeria; Edo State; Benin City. Donated by Dr Alfred Cort Haddon. MAA 1922.1060
Akhẹ. Clay pot described as "Juju jar". Placed full of water under a piece of bark to prevent thefts from gardens. Period unknown. Africa; West Africa; Nigeria; Edo State; Benin City. Donated by Dr Alfred Cort Haddon. MAA 1922.1060
Emeta. A skull, possibly a votive offering sacrificed to the sea. Period Unknown. Africa; West Africa; Nigeria; Edo State; Benin City. Sourced from Northcote Whitridge Thomas [field collector] and Professor Anthony Ashley Bevan [monetary donor]. MAA Z 12030
Emeta. A skull, possibly a votive offering sacrificed to the sea. Period Unknown. Africa; West Africa; Nigeria; Edo State; Benin City. Sourced from Northcote Whitridge Thomas [field collector] and Professor Anthony Ashley Bevan [monetary donor]. MAA Z 12030
Ife Head. Brass. 14th-15th century. Ife, present-day Osun State, Nigeria. British Museum, London. Af1939,34.1 © The Trustees of the British Museum
Ife Head. Brass. 14th-15th century. Ife, present-day Osun State, Nigeria. British Museum, London. Af1939,34.1 © The Trustees of the British Museum
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel I
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel I
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel II
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel II
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel II
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel II
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel III
Enotie's signature in From Eden to Ecocide: A Tale of Human Impact Panel III
Signatures
Enotie asserts ownership of his creative process through the prominent inclusion of his signature, appearing four times across the three panels discussed above.
The practice of signing paintings emerged in 14th-century Europe, emphasizing the individual creator. This contrasts with the historic practice in the Kingdom of Benin, where most objects were left unsigned, as their function held far greater significance than the identity of their creators.
Coronation of the Virgin with Angels and Saints (Baroncelli Polyptych) Tempera and gold on wood. Giotto. After 1328.
Coronation of the Virgin with Angels and Saints (Baroncelli Polyptych) Tempera and gold on wood. Giotto. After 1328.
Giotto’s Baroncelli Polyptych is a rare example of a signed artwork by the Early Renaissance master. The inscription, 'work of the master Giotto,' reflects the growing commercialisation of art in 14th-century Europe, when increasing emphasis was placed on the individual artist as a distinct creator.
Uhunmwun Elao. Lost-wax cast commemorative head of an Oba, used to support a tusk on an ancestral altar. Presumed collected on the British Expedition to Benin City, 1897. 18th-19th century. MAA 1925.64
Uhunmwun Elao. Lost-wax cast commemorative head of an Oba, used to support a tusk on an ancestral altar. Presumed collected on the British Expedition to Benin City, 1897. 18th-19th century. MAA 1925.64
This commemorative head represents an Oba, a divine king, adorned with a collar and crown of red beads. It is one of hundreds of bronzes commissioned by the royal family to decorate altars within their palaces. After the British invasion of Benin City in 1897, these commemorative heads were looted and dispersed through international markets across Europe. Now forcibly removed from its original context, the head resides in the MAA, with little known about its creator.
The abundance of Enotie’s signatures emphasizes the stark contrast with the majority of pieces displayed at the MAA, many of which lack signatures or known makers. This difference highlights the disparity between Enotie’s work and its surroundings.
From Eden to Ecocide was deliberately conceived as an artwork, created with the intent to be displayed in a museum. In contrast, the Benin bronzes (and other exhibited works) were crafted to be used, held, and integrated into their communities. Enotie signs his work with full awareness and control over its display and treatment, while these objects remain unsigned by the communities that made them – unaware of the impending violence that would soon be enacted upon their cultural heritage.
Enotie Ogbebor photographed in front of From Eden to Ecocide: A Tale of Human Impact. Taken in the MAA 2023, where the painting continues to be displayed. Image credit: MAA
Enotie Ogbebor photographed in front of From Eden to Ecocide: A Tale of Human Impact. Taken in the MAA 2023, where the painting continues to be displayed. Image credit: MAA
Beyond the Tale
Enotie creates socially conscious paintings that reflect his concerns with colonialism, the history of Benin, and contemporary anxieties surrounding the climate crisis. Throughout his body of work, each canvas aims to raise awareness and educate viewers about these issues, while recreating the visual culture of the Kingdom of Benin to preserve and revitalize it for future generations.
Chronicles of an Era | Enotie Ogbebor | Acrylic on Canvas | 2019
Enotie draws from the archives at MAA, appropriating content from photographs made during Northcote Thomas’ 1909-10 anthropological survey of Edo-speaking communities in Southern Nigeria. His painting represents the development and evolution of Benin society from 1909 to the present day, tracing the colonial impact on contemporary Benin City through Thomas' lens.
He incorporates visual elements from these photographs into his work, including the white silhouette representing Northcote, the white man. The horn blower, directly lifted from one of the images, captivated Enotie due to the man's joyfulness despite having become a refugee following the 1897 British invasion. Through this figure, Enotie enshrines the resilience and vibrancy of Benin culture during this 'transition' period.
Shown below are particular motifs from the painting alongside the photographs that inspired them.
Northcote Thomas, 1165a moulding, 1909, Ugoneki, present-day Edo State, Nigeria, MAA P.29310NWT
Northcote Thomas, 1165a moulding, 1909, Ugoneki, present-day Edo State, Nigeria, MAA P.29310NWT
Detail of arrows in Chronicles of an Era
Detail of arrows in Chronicles of an Era
Northcote Thomas, Decorated wall in king’s house, 1909, Uzebba, present-day Edo State, Nigeria, MAA P.28793.NWT
Northcote Thomas, Decorated wall in king’s house, 1909, Uzebba, present-day Edo State, Nigeria, MAA P.28793.NWT
Detail of white silohette, representing Northcote Thomas, in Chronicles of an Era
Detail of white silohette, representing Northcote Thomas, in Chronicles of an Era
Detail of Hornblower from Chronicles of an Era
Detail of Hornblower from Chronicles of an Era
Northcote Thomas, Flute Playing, 1909, Uzebba, present-day Edo State, Nigeria, MAA P.28564.NWT
Northcote Thomas, Flute Playing, 1909, Uzebba, present-day Edo State, Nigeria, MAA P.28564.NWT
Detail of the marketplace, which Enotie states continue to be hub of Benin communities, in Chronicles of an Era
Detail of the marketplace, which Enotie states continue to be hub of Benin communities, in Chronicles of an Era
Northcote Thomas, 1909
Northcote Thomas, 1909
Detail of three wooden staffs in Chronicles of an Era. The MAA hold several examples of these in their collection. See MAA Z 20317-20342
Detail of three wooden staffs in Chronicles of an Era. The MAA hold several examples of these in their collection. See MAA Z 20317-20342
Northcote Thomas, 1909
Northcote Thomas, 1909
To hear more about the painting from Enotie himself, click above.
Desperation in Motion | Enotie Ogbebor | Acrylic on Canvas | 2022-3
The issues and dangers of mass migration in Edo State, Nigeria, similarly inspired Enotie to create Desperation in Motion. He illustrates the perilous journey of migration with crowded boats heading toward a silhouetted backdrop of Western icons: the Eiffel Tower, Statue of Liberty, and Big Ben. Illuminated in deep reds and yellows, these landmarks convey a sense of warning. Enotie alludes to the dangers migrants face in their pursuit of the West: undocumented migration controlled by human trafficking gangs, and the vulnerability of women and girls to sexual exploitation.
Perilous Odyssey of Hope | Enotie Ogbebor | Brass. Cast in Benin City in the Omolaja foundry | 2023
Enotie was inspired by the famous ivory hip-pendants depicting Idia, the Queen Mother of Oba Esigie, which were looted from the Oba’s palace during the sacking of Benin City in 1897. He reimagines Idia’s crown, traditionally representing Portuguese traders, reducing the Europeans to mere decorations on her crown. This portrayal suggests an alternative narrative, where the balance of power was not entirely tipped in Europe’s favor.
In this version, the crown features iconic landmarks from across the world: the Eiffel Tower, Statue of Liberty, and Big Ben, alongside a pyramid and the Sphinx. These symbols point to our global heritage, shared histories, and collective future. The mask challenges the idea of looted artifacts as mere reflections of colonial subjugation, instead presenting Edo State, Nigeria, as a prospering region. By once again reducing these landmarks to ornamentation, Enotie highlights global dependency on West Africa, suggesting that many of these iconic structures would be unimaginable without the wealth gained through colonisation and the exploitation of West African people and land.
Queen Mother Pendant Mask, 16th century. Made in Benin city, acquired from Benin city by Sir Ralph Moor. Currently held in the British Museum, its almost identical counterpart is on display at the Metropolitan Museum of Art, New York. Af1910,0513.1 © The Trustees of the British Museum
Queen Mother Pendant Mask, 16th century. Made in Benin city, acquired from Benin city by Sir Ralph Moor. Currently held in the British Museum, its almost identical counterpart is on display at the Metropolitan Museum of Art, New York. Af1910,0513.1 © The Trustees of the British Museum
Perilous Odyssey of Hope. Image credit: Enotie Ogbebor
Perilous Odyssey of Hope. Image credit: Enotie Ogbebor
Learn more about Enotie's involvement with the TAKING CARE project.
Discover Nosona Studios, a thriving hub in Benin city set up by Enotie to mentor young artists from the Edo State and beyond.
Read about the [Re:]Entanglements project, which is reengaging with Northcote W. Thomas' colonial archive of Southern Nigeria and Sierra Leone between 1909 and 1915.
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