At Uniben, the university employed guild casters from Igun street as studio hands to assist students with bronze casting projects. Establishing an ar… - Peju Layiwola

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At Uniben, the university employed guild casters from Igun street as studio hands to assist students with bronze casting projects. Establishing an art school requires a whole lot of equipment and facilities, purpose built studios with proper ventilation, proper staffing and lots of space. In many of the art schools I have been to in the West, they constantly change their equipment to the most up-to-date facilities to catch up with modern trends in the world of art. The availability of materials and opportunities that their students have sometimes makes one green with envy. I look forward to such a time.

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About Peju Layiwola

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.

Also Known As

Alternative Names: Adépéjú Olówu
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Additional quotes by Peju Layiwola

At the University of Lagos, I was employed under the headship of Professor S. Adetoro whose sense of discipline was one to emulate. While some others may not have taught me, they have been able to support my career at various times- Professors Ola Oloidi, Abayomi Barber, Dele Jegede, Bruce Onobrakpeya and Rom Kalilu. The University of Lagos has been a great place of service. It has provided a conducive platform for expanding my creative capabilities and has given the necessary support for the growth of my profession. However, there have been challenges in my fairly long career as a teacher.

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.

First of all, it is one thing to identify a problem. Secondly, it is another to have the power to effect those changes. Poor funding of universities is a key problem. It also seems to me that there is an unspoken practice of privileging the sciences over the humanities.

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