this work references the centrality of okra within the African diaspora and the ceremonial role of adornment as a social and a ritualized practice. To be fly in an African and an Afro-Atlantic context, is to be cool or pleasing in the way one adorns the body as well as in the qualities of the spirit.
Additional Artworks
From MASUD OLUFANI
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Backbone, 2026
Stoneware, wood, glass, hair, photo transfer, paint and rice.
120 x 15 x 4 in (304.8 x 38.1 x 10.16 cm)
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A Wishbone for Nina Simone, 2025
Carved wood, powdered charcoal, and serigraph on wood panel.
38 x 26 x 5 in (96.52 x 66.04 x 12.7 cm)
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Hush Harbor for Baby Suggs, 2025
Wood, plexi glass, stone and trumpet
24 x 27 x 28 in (60.96 x 68.58 x 71.12 cm)
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La Diosa del Sol, 2024
Stoneware (cast yucca), and graphite on paper
36 x 36 x 7 in (91.44 x 91.44 x 17.78 cm)
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Can't Cage My Strut, 2024
Wood, paint, powdered charcoal, photo transfer on paper, stuffed rooster
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The Conjurer and the Oracle, 2024
Wood, steel, stoneware, red clay, acrylic paint, cloth, rope and tar.
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Tapping the Root, 2024
Carved wood and stoneware.
132 x 19 in (335.28 x 48.26 cm)
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The Black Eyed Nkisi Nkondi, 2024
Wood, automotive heating coil, steel, red clay, black eyed peas.
34 x 20 x 6.5 in (86.36 x 50.8 x 16.51 cm)