OLU Ajayi, the master painter, art activist and culture advocate, who passed on May 23 after a bout of illness that confined him to the hospital for almost a year, proceeds on his final journey home this week via 2-ay programme of events
Starting from Thursday, June 26, with a Service of Songs to be held from 5 pm at the Bell Centre on Campbell Street, near his favourite creative jaunt, Freedom Park, Lagos, the second and final event will climax with the final service to be held at the Nw Estate Baptost Church on Adisa Bashua street, Surulere.
Aged 61, Ajayi was just about defending his doctoral dissertation at the University of Benin, when he fell ill suddenly, and was hospitalised in Benin. He was later brought to St Nicholas Hospital in Lagos, where he spent the rest of his time on planet. Interestingly, the artist is embarking his final journey in the Bell Centre, which is just next door to teh hospitl where he reathed his last.
Also an astute, art activist and vocal advaocate for a better environment for the creative arts, Olu studied at the Auhi Polytechnics and was a key figure in the Culture Particularisation group — a club of artists from the Auchi school that reshaped the face of the Lagos and Nigeria’s visual arts scene in the early 90s. Led by Edwin Debebs, the group also included such eminent painters and colour theorists as Sam Ovia, Zinno Orara, etc.
Olu made his impact felt in the Lagos scene as he emerged as one of the most productive members of the group with regular exhibitions and participation in the Lagos art scene, especially. The height of his feasibility was perhaps when he became the Chairman of the Society of Nigerian Artists, SNA- Lagos, and worked assiduously to change the profile of the organisation that had been struggling to breathe since its founding in 1981. Those in his exco then, and especially functional members of the SNA the testfied to his high sense of service and commitment to the goals and desires of the organisation. He was credited wit inyiting several programmes that shit up he pubic perception and presence of te organidation. One of such is the Octer Rain, which is a rou exhibition that brought members of the association out in large-scale, robustly engaging group exhibition. Hi tenure also witnessed closer collaboration with, and better business relationships between artists and gallerists. Prior to then, the exhibition scene =, thoug with lesser nimber of galleries than now, was a foield of cosntant gruntings by either side with rampant reports of sour deals and conflicts of egos and interests.
Always, a focussed and determined administrator, Ajayi indeed worked hard to sort out much of the red lines, that many still testified to today. His successors noffice have also given him credit for stblishing a firm base for the association, even was also said ot have steppped on some interests dut to his strong no-nonsense postrings as an admonistrator.
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With roots planted firmly in the traditions of Nigerian realism and experimentalism, he evolved into one of the most respected visual artists of his generation. His works graced galleries in Nigeria and across the globe — South Africa, Europe, Canada, and the United States—each one bearing witness to his mastery of colour, form, and emotional depth
`(1963–2025): Tribute to the master of form, thought, and truth
THE passing of Olu Ajayi in the early hours of May 23, 2025, has left a deep void in Nigeria’s artistic and intellectual landscape. Olu was not just a painter—he was a seer with a brush, a philosopher in pigment, and a national conscience who used canvas as his pulpit.
Born in the scenic hills of Ososo in Akoko Edo, Olu’s artistic journey was long and distinguished. With roots planted firmly in the traditions of Nigerian realism and experimentalism, he evolved into one of the most respected visual artists of his generation. His works graced galleries in Nigeria and across the globe — South Africa, Europe, Canada, and the United States—each one bearing witness to his mastery of colour, form, and emotional depth.
But perhaps his most enduring artistic legacy lies in his deep connection with Nobel Laureate Professor Wole Soyinka. No other artist has captured Soyinka in as many moods, moments, and meanings as Olu did. Through his celebrated “Living Legends” series, which began in 2008, Olu sought to visually immortalise national icons — Soyinka chief among them. These portraits weren’t mere likenesses; they were layered tributes, breathing with history, protest, and reverence. For this, Olu became widely recognised as Soyinka’s visual chronicler.
He was also a man of deep intellect. Our paths crossed often in the mid-1990s, when he would arrive at my home or my Remilekun Street office, armed with a painting he was sure I couldn’t resist. He was almost always right. His lines spoke truth. His strokes summoned rebirth. Olu’s visits were never just about art—they were about ideas. Every session ended in long, probing conversations about Nigeria, justice, politics, and the future. It was in these conversations that his brilliance shone just as brightly as it did on the canvas.
A loyal friend, Olu was forthright, unpretentious, and passionate. He was a passionate member of the Pyrates Confraternity and an unwavering advocate for its ideals. When the idea of documenting the Confraternity through film came up, especially an interview with Cap’n Blood, Olu was my immediate and obvious choice. Sadly, the project never came to fruition before he took ill. In December 2024, just weeks before we were to begin, he suffered a stroke that he would never recover from. At the time, he was on the cusp of defending his PhD in Fine Art at the University of Benin—a goal that reflected his restless desire to grow, to contribute, to master his craft even further.
Throughout his illness, his beloved wife Priscilla stood by him with the strength and grace that only true love can summon. To her and to his children, I offer my deepest condolences. May you find comfort in the pride of his legacy and in knowing that Olu lived a life that mattered.
Nigeria has lost a cultural titan. The world has lost a rare talent. I have lost a brother.
Rest in peace, Olu Ajayi—the great artist from Ososo.
You saw deeply. You painted truly. You spoke fearlessly.
And now, you sail into immortality.