Reconstructing History, Reclaiming Heritage in Olanrewaju Atanda’s Ambitious Oeuvre

Yinka Olatunbosun

History long held accounts of the 1897 British Punitive Expedition that saw the looting of several priceless Benin Bronzes. Since then, some socially-committed artists have created replicas of some iconic works of the period as a homage to the lost heritage. Till date, the desire to crystallise this cultural history and heritage still burns in the creative world. For the multidisciplinary artist, Olanrewaju Atanda, revisiting the reality of lost heritage in Nigeria’s colonial history through visual art may not be an accidental response to shifting historical narratives.

Since relocating to the UK, the work of this Lagos-born artist has evolved to reflect both his Nigerian roots and new cultural influences, drawing viewers into spaces of reflection, emotion and dialogue. From being a comic artist at 10, Atanda has groomed his turf as an artist with specialty in drawing, painting, mixed media and calligraphy.

In developing an oeuvre shaped by curiosity, reflection and storytelling, Atanda bears a burden of heritage reclaim through his pencil works, revisiting historical narratives- this time on black paper.

Atanda’s use of black paper in itself is symbolic of the cultural bereavement that characterises most immigrants’ journey into understanding such cultural loss. Sitting in many museums are large collections of looted Benin bronzes. While a season of cultural repatriation is being celebrated in Nigeria following the return of some of these works, it is no gainsaying that these bronzes constitute an essential part of Nigeria’s cultural heritage. By recreating these bronzes on paper, Atanda explores identity, displacement and belonging.

With the Bini Bronze Head (2025), Atanda revisits the legendary bronze sculptures of the Bini people. Atanda captures the elegance, detail and symbolic power of these artefacts. The single-colour white gradient technique highlights how profound beauty can emerge from minimal materials, while symbolism allows viewers to interpret the layered narratives of heritage, loss and resilience.

To reinforce the black identity, Atanda carefully explores charcoal alongside oil, acrylic, ink, watercolour, and pencil, to set the mood and advance his voice in cultural reclamation. The paper and canvas become spaces where intuition and discipline meet, where memory interweaves with imagination.

Through his paintings, Atanda fuses cultural influences, celebrating rhythm, identity, and quiet reflection. By evoking visual dialogue, he draws on viewers to experience textures, colours, and lines that evoke not just beauty, but resonance and connection.

With Bini Bronze Head (2025), the artist takes a retrospective glance at the legendary bronze sculptures of the Bini people using the single-colour white gradient technique that highlights a minimalist’s perspective on lost heritage.

Another piece, Ife Bronze Head (2025) reimagines the Yoruba Ife Bronze heads, trailing pre-colonial history. Atanda’s careful layering of white gradients on black paper is a rare show of quiet elegance and reverence, celebrating the artistic sophistication of Ife artisans. The artwork invites reflection on cultural pride, historical awareness and the enduring value and legacy of African art.

Away from the bronze head-inspired paintings, Seduction: Enchantment (2025) which is a part of Atanda’s Seduction series, captures the subtle beauty and complexity of feminine form. Using white pastel and colour pencil on black paper, the work showcases the interplay of light, shadow and negative space to evoke both vulnerability and quiet strength. The minimalistic approach invites viewers to complete the narrative with their imagination, creating a dialogue between artist, subject and observer. Through simplicity, the piece conveys emotional depth, elegance and the nuanced interplay of life’s contrasts.

Still appealing to the sensual, Seduction: Charming (2025) explores the nuanced beauty of femininity through minimalist light and shadow. Atanda’s monochromatic technique in this painting invites viewers to complete the narrative with their imagination. The work embodies mystery and allure, demonstrating how subtlety can evoke powerful emotional responses while highlighting the elegance and strength of the female form.

Atanda displays his eco-sensitive and spiritual sides with Gazing Upon The Lord (2025), an oil painting depicting an American bald eagle, inspired by the bible. Painted at a moment of personal reflection, the eagle’s upward gaze symbolises resilience, hope and spiritual renewal.

Atanda makes a powerful statement in his portrayal of the Black woman in Chaotic Beauty (2025). Using layered textures and dynamic marks, the artist interrogates the complexity of identity as well as the vibrancy of black cultural heritage despite inner struggles.

In making the mixed media painting titled Veronika (2025), Atanda tells the story of a woman far from her homeland, navigating loneliness while serving others in healthcare. Using charcoal, graphite and watercolour, Atanda captures her quiet vulnerability and profound strength, to elevate the understated emotional labour of immigrants. The work becomes both a mirror and a beacon acknowledging pain while offering hope and recognition to an enduring soul.

Through this oeuvre, Atanda breathes new life into historical pieces while challenging traditional representations. Artists often revisit lost scriptural heritage in painting as a way to reconnect with the past, pay homage or subvert traditional narratives. By interpreting classical themes in a modern context, Atanda bridges the gap between two-dimensional and three-dimensional art forms for posterity.