The African Creative Innovation Tree Trunk Furniture Exhibition was officially opened on Thursday, May 22, 2025, at the University of Ibadan (UI), with a call for sustainability, environmental consciousness, and cultural preservation in African design.
Chairman of the occasion, renowned Architect Olatunji Bolu, made this call while delivering his speech at the event themed Creative Centrifuga, organised by the UI Institute of African Studies.
The exhibition celebrated African craftsmanship through innovative and sustainable furniture design using tree trunks.
Speaking, Arc. Bolu emphasised that the exhibition is more than a mere display of aesthetic pieces but a convergence of knowledge, creativity, and legacy.
He described tree trunk design as “expressive, soulful, and enduring,” highlighting its ability to connect people to nature, history, and identity.
“Every display, every form, and every texture, crafted from nature carries the potential to influence not only our built environment but also our cultural future,” Bolu said adding, “This exhibition is a beautiful testament to the harmony between tradition and forward-thinking artistry.”
According to him, “This form of design celebrates the raw majesty of nature, the depth of our cultural heritage, and the importance of sustainability in modern architecture and living. It speaks to: a unique aesthetic that honors imperfections as beauty, the durability and longevity of natural materials, a profound connection to the environment and an enduring cultural symbolism that reflects our African identity.”
Professors O. I. Pogoson and Sola Olorunsola at the Exhibition
However, the architect raised a serious concern about the alarming rate of deforestation and the dwindling availability of quality timber across Nigeria and Africa.
According to him, iconic species such as Teak, Mahogany, and Iroko, once abundant, are now facing critical threats due to over-exploitation and inadequate reforestation efforts.
“We cannot admire these masterpieces today and remain passive tomorrow,” Bolu warned.
He added, “As architects, artists, and designers, it is our duty to lead by example. Timber, when used responsibly, is not only eco-friendly, it is deeply symbolic.”
He called for a continent-wide movement involving stakeholders, artists, environmentalists, policymakers, and community leaders, to advocate for responsible timber use, promote reforestation, and protect Africa’s natural heritage.
Concluding, the architect urged attendees to view the event as a call to action rather than a mere artistic gathering.
Speaking on behalf of the Honorary Curator of the Cornelius Adepegba Museum of African Art, Professor O.I. Pogoson, Akeem Ashiyanbi, stated, “This exhibition invites us into a compelling conversation between nature and design.”
He pointed out that the exhibition celebrated the creative reimagining of raw tree trunks into functional forms, household and office furniture that are not only utilitarian, but also deeply expressive.
He also established that each piece on display reflected an intentional harmony between the organic and the artistic.
Concluding, he said, “I would like to express my personal gratitude to my boss, Professor O. I. Pogoson, who is also my academic supervisor and mentor, for the opportunity to deliver these opening remarks on his behalf. It is both an honour and a privilege to be entrusted with this responsibility.”
He enjoined the attendees to reflect on the transformative power of art, rooted in tradition yet reaching boldly toward new expressions.
The exhibition features works by BFFS Woods and paintings of K.K. Karunwi.
