Itan: The Stories We Carry-A New Dawn For Nigerian Art

By: GELE AGBAI

Itan, an evocative exhibition whose title comes from the Yoruba word for “story,” brought the Old Street Gallery to life on April 18.

The evening was full of meaning, memory, and art. The exhibition, which had the subtitle “The Stories We Carry,” tried to find not only what artists make, but also the personal, cultural, and emotional stories that are behind their work.

Unearthing the Narratives Behind Art

The exhibition brought together a wide range of up-and-coming artists from Nigeria alongside other countries. They used photography, illustration, and mixed media to create a lively celebration of identity and change.

It reminded us that stories, even when they’re told quietly, shape how we see ourselves as people.

One of the top contributors was Promise Amenkhienan, a talented Nigerian illustrator whose collection Cocoon showed how beautiful it is to change from the inside out.

His portraits of Black characters, which were half-human and half-dreamscape, showed faces where one side turned into detailed drawings of nature and freedom, with butterflies symbolically coming out between worlds.

Amenkhienan saw change not as loss but as becoming in these works. This is a very African way of thinking about rebirth and perseverance.

The Photography of Connection and Identity

Moses Ibukun, a young Nigerian photographer whose raw but graceful images looked at unity and identity, was just as fascinating. His project Hand in Hand showed Nigerian boys holding hands while lying in the sand. It was a touching picture that said a lot about friendship, solidarity, and quiet strength in a society where weakness is often hidden.

Ibukun’s Beauty in Skin Diversity added to that story. The piece, a striking side portrait of an albino girl with uniquely patterned skin and traditional African-threaded hair, went against what most people think of as beautiful. It was both proud and challenging, saying that every shade and flaw tells its own itan.

Royal Imagery and Global Voices

Photographer Mmeseoma Peters brought regal intensity to his work King, which shows a Black man in a majestic fur coat and gold jewellery, with cigar smoke curling around his calm face. The picture showed strength, pride, and defiance. It was a way of saying “I am worth something” in a world that often tries to define Blackness through struggle instead of sovereignty.

In addition to the Nigerian artists, there were also artists from London and England, such as Manali Rangnekar and Sourabh Sharma. Their works sparked a global conversation within Itan, showing that even though our stories are different, their roots—emotion, identity, and change—are the same.

A Bright Horizon for Nigerian Art

Itan was more than just an exhibition; it was a promise. It talked about a bright future for Nigerian art, where young artists aren’t limited by where they live but instead are inspired by it. Galleries from Lagos to London are becoming places where people can connect instead of separate.

As the evening went on and people stayed, one thing became clear: Nigerian art no longer needs to be validated. It tells its stories in a bold, colourful, and honest way. And with platforms like Itan, the world is finally paying attention.