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Retro Africa Presents “Ènìyàn: Escape Room”, a Solo Exhibition by Yusuff Aina

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Retro Africa gallery is pleased to announce its upcoming solo exhibition “Ènìyàn: Escape Room”, opening to the public on Thursday July 6th, 9AM – 5PM, at Art Twenty One, featuring a selection of works by Yusuff Aina.

The exhibition is a comprehensive representation of Yusuff Aina’s artistic practice and a visual journal of his personal transformation—from vulnerability to strength, self-awareness, and stillness. This body of work consists of 31 new paintings, a site-specific installation, and a soundscape, all serving as portals into Aina’s art of
worldmaking through altered physical spaces, experimentation, and symbolism.

Acknowledging the chaos and fast pace of today’s world, the project initiates a global
discourse on mental well-being, sound mind, and freedom. By placing Ènìyàn in
liminal spaces such as open doorways, stairways, and void-like environments, Aina
reflects on the stages of confusion and indecision that individuals often experience.

The figure is depicted in various states of contemplation and flux as it navigates the
artist’s mythical universe—an unnamed, expansive world situated between nowhere
and everywhere. “Ènìyàn : Escape Room” represents an immersive exhibition that
delves into the intricate voyage of Yusuff’s artistic practice, encapsulating the depths
of his emotional exploration and the potent influence of self-discovery, this exhibition
invites spectators to navigate the intricacies of vulnerability, resilience, and the relentless pursuit of personal growth.

Through a captivating dialogue between the
artist, Yusuff, and the viewer, this exhibition serves as both a therapeutic exploration
and a call for collective introspection.
Yusuff’s profound realization of his own emotional struggles was catalyzed by the
unprecedented circumstances brought forth by the COVID-19 pandemic, which compelled him to embark on a period of deep introspection and self-reflection. As the world came to a standstill, confining him within the parameters of his apartment and
presenting him with financial obstacles alongside an abundance of time, he seized
this opportunity to embark on a transformative inward journey, questioning the very motivations and aspirations that propelled him.

Ènìyàn: Escape Room is presented in six unique rooms, each characterised by a
distinct colour that corresponds to a group of similar emotional states. For example,
Àina’s White Room represents an indeterminate state in which it is difficult to define one’s mood, while his Black Room symbolises a mind state that consumes all others.

The red room alludes to feelings of pain, anger, ego, and pride, while the blue room
captures the space between sadness and YUSUFF AINA 2023 vulnerability. The yellow room symbolises timidity, and the green room signifies tranquillity and euphoria.

Ultimately, these rooms invite audiences to explore the concept of mobility, where
mobility signifies healing and personal growth, enabling us to evolve into improved
versions of ourselves.

Reflecting on the project, Àina states, “The issues I explore encompass both physical and psychological aspects, such as domestic violence, low self-esteem, anxiety, and more. I invite the public into a space of self-awareness—a fertile ground to confront the situations lurking in the shadows of our personal lives and in society at large. Above all, it is my hope that the thoughts explored in this project empower people to fully embrace themselves and embark on a new path or continue progressing on an existing one.”

During this period of profound introspection, he began confronting deeply ingrained doubts and insecurities, many of which had eluded his conscious awareness.

The impact of diminished self-esteem, depression, and anxiety gradually came into focus, revealing the emotional complexities that he unknowingly carried within himself.
Through his paintings and installations, Yusuff endeavoured to articulate the struggle to attain authenticity and liberate himself from societal expectations that had exerted influence over his artistic output in the past.

“Ènìyàn : Escape Room” is both an artistic display and an invitation to embrace
vulnerability, engage with our own emotions, and navigate the complexities of the human experience. By entering each distinct room, visitors are encouraged to see
themselves reflected within the narratives woven by Yusuff’s artistry. It becomes a
space for personal connection, empathy, and understanding, fostering a sense of
unity among individuals who may have divergent backgrounds and experiences.
Retro Africa Founder Dolly Kola-Balogun, stated: “In the transformative realm of
our minds, viewers are invited to explore their own paths of self-discovery, finding
solace, inspiration, and a renewed sense of purpose. The exhibition serves as a
poignant reminder that introspection is a powerful tool for growth, offering a profound opportunity to connect with ourselves and, ultimately, with one another.”

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Attempted Coup: DSS Arraigns Five for Alleged Refusal to Reveal Timipre Sylva’s Hiding Place

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The Department of State Services (DSS) at the Federal High Court in Abuja, arraigned five associates of former Minister of Petroleum Resources, Timipre Sylva.

They are accused of concealing information regarding the whereabouts of their principal, who is alleged to be a financier of an aborted coup attempt against President Bola Tinubu.

Sylva, a former Governor of Bayelsa State, has been declared wanted by the Federal government, and his identified properties have been marked for forfeiture following his indictment as the sponsor and mastermind of the alleged coup plot.

The five associates are Reuben Ayuba, Musa Mohammed, Friday Paul, Paganengigha Anagaha, and Ayebaifife Suobite. They were arraigned on Wednesday before Justice Peter Lifu.

A two-count charge filed against them indicates that the accused became accessories after the fact of felony on April 28, 2026, by concealing the whereabouts of Timipre Sylva, who is classified as a fugitive. The alleged offense is contrary to Section 519 of the Criminal Code Act Law of the Federation of Nigeria, 2004.

Additionally, the DSS has accused them of conspiracy to commit a felony, specifically for concealing the whereabouts of Timipre Sylva, also a fugitive, in violation of Section 516 of the Criminal Code, LFN 2004.

All the accused persons pleaded not guilty to the charges when they were read to them.

DSS lawyer, Emmanuel Orubor, requested that the judge schedule a date for the DSS to commence their trial by calling witnesses to testify against the defendants.

In response, Sunusi Musa (SAN), who represented Reuben Ayuba and Paganengigha Anagaha (the 1st and 4th accused persons), filed a bail application for his clients on various grounds.

Similar applications were made by Ibrahim Imadegbelo, representing Musa Mohammed (the 2nd accused), I. G. Kelubia, standing for Friday Paul (the 3rd defendant), and E. C. Sogo, who argued for Ayebaifife Suobite (the 5th accused person).

The lawyers pointed out to Justice Lifu that their clients have been in custody since October 25, 2025, and urged the court to grant them bail on liberal terms.

In a brief ruling, Justice Lifu granted them bail in the sum of N5 million each, along with two sureties for each, in a similar amount. The sureties are required to swear to an affidavit of means, provide evidence of three years of tax payment, demonstrate visible means of livelihood, and submit recent passport photographs.

Justice Lifu ordered that the claims of identities of the sureties must be verified by the Registrar of the Court.

Pending the perfection of the bail conditions, the Judge ordered that the accused persons be remanded in Kuje Correctional Centre in Abuja and fixed July 22 for the commencement of trial.

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UBA Reinforces Commitment to Rewarding Customer-Loyalty with N400m Bonus

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UBA Rewards Customer Loyalty with Over ₦400 Million Bumper Account Anniversary Bonus
…Reinforces commitment to rewarding customers for consistent savings
Africa’s Global Bank, United Bank for Africa (UBA) Plc, has rewarded thousands of customers with over ₦400 million in anniversary bonuses under its flagship UBA Bumper Account, reaffirming the Bank’s unwavering commitment to rewarding customer loyalty and promoting a strong savings culture.

The payout, one of the largest loyalty rewards under the Bumper Account initiative since its launch, saw qualifying customers receive anniversary bonuses directly into their accounts, demonstrating UBA’s resolve to create lasting value for customers who consistently save with the Bank.

The UBA Bumper Account is a unique savings product that rewards customers simply for maintaining and growing their savings. Every year an eligible account reaches its anniversary, customers receive a cash bonus, making disciplined saving both rewarding and beneficial over time.
Speaking on the milestone, UBA’s Head, Retail Products, Tomiwa Sotiloye, said the Bank remains committed to ensuring that customers benefit directly from their relationship with UBA.

“At UBA, we believe customer loyalty deserves meaningful recognition. Every bonus paid is our way of saying ‘thank you’ to customers who continue to trust us with their financial aspirations. Surpassing the ₦400 million milestone reflects our commitment to creating products that not only help customers save but also reward them in tangible ways. It is another demonstration that when our customers grow, we grow with them.”

He added that both new and existing customers can open a UBA Bumper Account seamlessly through https://on.ubagroup.com/bumper-tc, any any UBA branch, the UBA Mobile Banking App, by dialing *919#, or online, positioning themselves to qualify for future anniversary rewards.

Also speaking, UBA’s Group Head, Brands, Marketing and Corporate Communications, Alero Ladipo, said the Bank’s customer-centric philosophy continues to shape its product offerings.

“The UBA Bumper Account reflects our unwavering commitment to putting customers first. We deliberately design products that reward responsible financial behaviour while delivering real value. Crediting over ₦400 million directly into customers’ accounts is not just a payout; it is evidence of our promise to make banking more rewarding and to continually appreciate the confidence our customers repose in us.”

The UBA Bumper Account remains one of the Bank’s flagship retail savings products, combining competitive savings benefits, digital convenience and attractive loyalty rewards. It forms part of UBA’s broader strategy to deepen financial inclusion by encouraging sustainable savings habits while delivering exceptional customer experiences.

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Dele Momodu Leadership Centre Hosts Media Scholar, Prof Abiodun Adeniyi

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By Anjorin Fehintola Stella

We often measure leadership by the institutions people build or the positions they occupy. Yet, during his visit to the Dele Momodu Leadership Centre, Professor Abiodun Adeniyi repeatedly returned to something less visible but perhaps more enduring; the responsibility of documenting one’s life and thoughts. He spoke as someone who understands, at a personal level, what is lost when experience is left unrecorded. His emphasis on documentation was not stylistic advice for writers. It was an argument about memory itself, about how societies retain or lose the wisdom of the people who pass through them.

Ideas disappear when they are undocumented because memory, at the collective level, is fragile and selective. A society does not remember everything that happens within it, it remembers what is written down, repeated, taught, or institutionalised. An undocumented thought, however brilliant, dies with the person who held it, or worse, drifts into vague anecdote, stripped of its original precision. This is why oral cultures, for all their richness, often struggle to transmit complex ideas across generations with fidelity. Professor Adeniyi’s point, then, was not simply about personal record-keeping. History remembers people largely through what they leave behind, not through what they intended to leave behind. Intention without artefact disappears.

When he spoke about travelling, it would be easy to reduce his words to a fondness for movement or exposure. But the deeper claim runs further than that. Travel disrupts familiarity. It exposes individuals to different ways of living, thinking, governing and imagining society. Professor Adeniyi suggested that travelling remains one of the simplest yet most profound forms of education because it broadens not only knowledge but perspective. A person confined to one environment mistakes the local for the universal. Movement across geographies forces a confrontation with alternative logics, alternative arrangements of power, family, and meaning, and that confrontation is often where genuine learning begins.

Perhaps the strongest advice he gave concerned the pursuit of a doctorate. When Aare Dele Momodu spoke of his desire to pursue a PhD, Professor Adeniyi’s response challenged a growing culture in which academic qualifications are sometimes pursued as symbols of prestige rather than vehicles of inquiry. A PhD earned for the title that follows a name produces a credential without a contribution. A PhD earned out of genuine curiosity produces new knowledge and, more importantly, sustains the kind of intellectual restlessness that defines a thinking life. Professor Adeniyi’s counsel was that one should choose a field that strikes them professionally and personally, something that connects to lived purpose rather than social signalling, because the value of advanced study lies in the questions it forces a person to keep asking long after the degree is conferred.

Professor Abiodun did not reserve his counsel for matters of scholarship alone. Turning to the younger staff in the room, Professor Adeniyi offered something closer to reassurance than instruction, that everything they are currently going through, the uncertainty, the striving, the sense of being far from where they hope to be, is a phase both he and Aare Dele Momodu have lived through themselves. It was a reminder that ambition rarely moves on a straight or visible timeline. The goals and dreams that feel distant now are not denied, only delayed, and what stands between the present moment and their fulfilment is simply time and dedication, applied without pause.

 

Underneath all these threads, travel, documentation, the meaning of scholarship, was a single, unifying idea about legacy. Legacy isn’t what people say about you. It’s what remains after you leave. This distinction matters because praise is temporary and circumstantial, shaped by mood, politics, and memory’s natural decay. What remains, however, is structural. It is the book on a shelf, the institution still running, the idea still being taught.

This is where the conversation returned, inevitably, to the Centre itself. The library. The scholars’ rooms. The conversations. The institution. Professor Adeniyi appeared genuinely moved by what he encountered, not by the scale of the buildings, but by what the buildings were designed to hold. Perhaps that is why Professor Adeniyi appeared genuinely moved by the Centre. It was never merely about architecture. It was about permanence. Buildings become legacy only when they preserve ideas.

Every visit leaves footprints. Some are physical. Others are intellectual. Professor Abiodun Adeniyi’s visit left the latter.

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