At QGallery, Voices of Eya Evokes a Cultural Reawakening

Yinka Olatunbosun

Art, at its most profound, does not merely occupy a room waiting to be observed; it demands an encounter. It serves as a conduit through which muted histories are heard, emotions are revealed, and hidden truths emerge. On 6 June, Qgallery in Apapa opened its doors to The Voices of Eya, an all-female exhibition that presents a breathtaking collection of works exploring the depths of identity, ancestral memory and the unbreakable threads of human connection.

The title itself—Eya—carries multiple layers of meaning. Drawn from the Urhobo language, it evokes notions of “mother”, “life”, and even a profound exclamation of grief or awakening. Within the exhibition, Eya is treated not as a static subject but as a living, breathing force. It becomes the foundational pulse from which each artist draws inspiration, weaving personal narratives and collective histories into a tapestry that is at once intimate and universal.

At the heart of The Voices of Eya lies a fascinating paradox: how does one give visual form to a voice? The exhibiting artists—Adedoyin Adelani, Ogoluwa Obaseemo, Titilayo Abdulrazak, Cynthia Dafinone, Idemudia Mercy, Caroline Useh, Juliet Ezenwa Pearce, Adiza Nzekwe, Korede Aremo, Khadijah Adeboye, Faith Michael, Oke Gabriel, Faalilat Ibrahim and Klaranze—offer a compelling collective response.

They transform the intangible into the tangible through a dynamic interplay of medium and form. From richly textured large-scale abstract canvases and intricate sculptural installations to immersive multimedia experiences, the gallery space becomes an echo chamber of lived experience.

The exhibition’s carefully curated journey invites viewers to look beyond the surface of brushstrokes and moulded clay, urging them instead to listen with their eyes. Several installations delve into the fertile ground of heritage, unearthing archival memories and oral traditions that continue to shape contemporary realities.

Other works confront the immediate and often chaotic beauty of modern identity, addressing themes of displacement, resilience and belonging. Ultimately, the exhibition looks towards the future, offering speculative visions of healing, community and rebirth.

Inside Qgallery, a deliberate rhythm guides the visitor’s experience. Intimate spaces for quiet contemplation flow seamlessly into expansive communal statements. This thoughtful pacing mirrors the nature of human discourse itself—the ebb and flow of conversation, the sudden ruptures of revelation, and the reassuring return to shared understanding.

Among the featured artists is Idemudia Mercy Itohan, a Lagos-based ceramicist and potter whose practice blends contemporary and traditional ceramic forms. Drawing inspiration from personal experiences, storytelling and cultural influences, she uses clay to explore identity, memory and human connection, creating works that balance functionality with artistic expression.

Faith Michael explores human fragility through muted colours and delicate brushstrokes. Her oil-on-canvas works capture the subtleties of everyday interactions, giving voice to underrepresented narratives and silenced emotions. Rooted in personal experience, her practice seeks to illuminate both individual oppression and shared human vulnerability.

Caroline Useh, a graduate of Auchi Polytechnic in Delta State, is recognised for her distinctive use of alternative materials and mixed media. Her innovative approach expands the possibilities of painting, creating works that challenge conventional artistic boundaries.

More than an exhibition, The Voices of Eya is an invitation to engage in a dialogue that transcends language and geography. It reminds us that voices need not always be heard to be felt, and that art remains one of the most powerful means of preserving memory, fostering connection and imagining new futures.