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" "It needs to be rewarded; you don’t come watch a play and then just go away without putting something down; we need to get grants for artists, we need to support them.
Peju Layiwola (born 29 September 1967) is an art Historian and visual artist from Nigeria who works in a variety of media and genre. She is listed as a "21st Century Avant-Garde" in the book Art Cities of the Future published by Phaidon Press. She is currently a Professor of Art and Art history at the University of Lagos and has been described as a "multitalented artist." Her works can be found in the collection of Microsoft Lagos, Yemisi Shyllon Museum, Pan Atlantic, Lagos and homes of private collectors such as JP and Ebun Clark and the Obi of Onitsha.
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The second project is the “Whose Centenary?” project. A collaboration of eleven other renowned artists on a public art project held at Igun Street, Benin City. The Nigerian government celebrated the amalgamation of both the southern and northern protectorates of Nigeria in a grand style. As artists we questioned the celebration of the centenary particularly as the amalgamation was carried out for the convenience of British administration rather than for the good of the people, in what later became known as Nigeria.
Another motivating factor was when Professor Solomon Irein Wangboje came to my college and selected the best painting for the cover of his book, ‘Art for Secondary schools’. I was really elated and inspired to see my art on the front cover of a book used by the entire school. When I finally opted to study fine arts, my parents were not excited at all. Even my mother who was an artist told me art was not recognised in Nigeria and that if I wanted to be successful, it was better to study some other course like law. They felt I could do something more ‘prestigious’ and more acceptable in the Nigeria of that time. I insisted because I believed I had enough passion and skill to forge ahead. However they gave me full support while I was in school. I received the best student prize at the University of Benin, the same prize she had received ten years before. My artistic project during the National Youth Service earned me a national award. By this time, I didn’t need a soothsayer to tell me I was on the right path.
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My lectures and engagement in the last two months have helped foster better understanding of art from a non-European background. It has also expanded my understanding of knowledge practices in the arts. Next year promises better opportunities. As a recipient of the Raw Residency at Rhodes University in South Africa, I will be involved with creating a new body of art works. I am excited about this residency because of its unique structure. I will be working with a writer who would engage my artistic production in a literary form, while I do my own work.