The Cornelius Adepegba Museum of African Art (CAMAA), University of Ibadan, was on August 7, 2025, transformed into a haven of colour, memory, and imagination as it hosted a striking exhibition of oil paintings by Otunba Abiodun Fagbohun, a celebrated artist, entrepreneur, and cultural custodian.
The exhibition, officially opened by Professor Tola Badejo, was not just an art show; it was a cultural statement. With works that seamlessly blend African sensibilities with global inspiration, Fagbohun’s distinctive Aquatic Marble Oil Paintings evoked awe, reflection, and deep appreciation from attendees.
“Fine art is more than decoration,” Prof. Badejo said in his opening address. “It is a powerful medium through which the artist explores identity, questions society, records history, and expresses the inexpressible.”
Badejo stated: “Oil painting, in particular, has long been cherished for its depth, vibrancy, and timeless beauty. From the Renaissance masters to our contemporary creators, oil paint has remained a tool of both technical mastery and emotional resonance. The artist who we are celebrating today is a strong conceptual and critical thinker who interprets and analyses ideas, historical contexts and cultural discourse to create artwork that conveys complex messages or critiques. Fine artists often dissect complex concepts and translate them into visual forms, which require both analytical prowess and a deep understanding of symbolism. Being critical thinkers enables fine artists to evaluate their own work, which fosters a continual process of learning, reflection and growth within their practice”.
He lauded CAMAA for hosting the exhibition saying: “I would like to commend the curators for their dedication in selecting and arranging this stunning body of work”.
Born in Ibadan on January 4, 1963, Fagbohun hails from Igbara-Oke in Ondo State and holds the traditional title of Otunba Bobare of Idoani Kingdom. His journey as an artist began with youthful mornings at Loyola College, where the neatly trimmed football fields and flowers awakened his love for nature. That early spark matured over the decades, shaped further by international exposure in Singapore and Hong Kong, where he engaged with local street artists and drew inspiration from the interplay of water, skyline, and space.
The result is his globally recognised style, the Aquatic Marble Oil Painting, a fluid, layered approach to landscapes that echoes both motion and meditation. It was this style that drew visitors deep into a world of abstract currents, watery reflections, and vibrant stillness.
In his speech, the CAMAA Honorary Curator, Prof. O.I. Pogoson, described the exhibition as “a moment of dialogue — between technique and expression, between tradition and innovation.”
Pogoson, who spoke through Akeem Asiyanbi said: “As you view the pieces before you, we invite you to look closely — not just with your eyes, but with your inner sense of wonder. Trace the currents of water, the layers of light, the shifting moods of nature, and the delicate balance between stillness and movement. Let the works take you on a journey — the same journey that began for the artist as a young boy marveling at morning light on trimmed lawns in Ibadan, now matured into a global language of visual poetry”.
The Chairman of the event, Prof Badejo (to the left), the exhibitor, Otunba Fagbohun (in the middle) and the Curator, Professor Pogoson (to the right)
Fagbohun is not only a painter but a multifaceted entrepreneur. Since founding his Art Center on Sobande Avenue, Ibadan in 1988, he has also launched several ventures including Abifag Ventures, Universal General Ventures, Flo Flavors, 44 Abbey Logistics, and Abbey Inter Biz. Yet, his passion for art has remained his constant compass.
Over the years, his works have been displayed in prestigious venues including Chevron-Lekki, Studio Five Five in New York, Essex in the UK, Coventry University, and more recently, in Norwich, Budapest, and Abuja. His collectors span continents and include notable figures such as Princess Bunmi Banjo, Engineer Femi Ige, Mr. Gboyega Oluwasanmi, Arc. Muyiwa Ige, and others across Nigeria, Europe, and the U.S.
His paintings also adorn the walls of public and private spaces, including Lagos Airport Hotel, ANA Hotel Abuja, Jogor Hotel Ibadan, Araromi Farms in Osun State, and Agbeni Lounge, to name a few.
Through it all, what remains constant is his commitment to representing African identity in vibrant, textured, and emotionally resonant ways. His work, as CAMAA noted, reflects “the richness of the contemporary African creative identity — one that is rooted, global, entrepreneurial, and deeply intuitive.”
As the exhibition continues to draw visitors from across academic, artistic, and social circles, one message resounds: Fagbohun’s art is not just something to see — it is something to feel.
In a world often flooded by noise, his paintings offer a rare kind of silence — one filled with stories, memories, and flowing colour.
As CAMAA continues to champion African material and contemporary culture, this exhibition stands as a testament to the museum’s commitment to amplifying voices that reinterpret heritage with originality and global fluency.
