Witty Lines and Vibrant Brush Strokes 

With bold brushstrokes and incisive wit, Josy Ajiboye, Nigeria’s master visual storyteller, has vividly captured the nation’s turbulent journey, laying bare its complexities, contradictions, and beauty. . Okechukwu Uwaezuoke writes

As the sultry morning merged into a languid afternoon on Friday, January 17, Josy Ajiboye’s words set the tone for the conversation with his guest. Seated in the serene veranda of his Ilasamaja home studio—a tranquil oasis amidst the bustling Lagos mainland—the 77-year-old artist offered a revealing insight. “Basically, I’m an artist,” he says, as if reminding those familiar with his cartoonist persona that there’s more depth to his creative genius than initially meets the eye.

Reviewing his cartoons, which he meticulously arranged in albums, Ajiboye’s eyes sparkle with nostalgia and pride, betraying a deep affection for a craft that transcends mere doodles on paper. His work is a thoughtful reflection of his philosophy, maturity, and unique worldview. Moreover, unlike many contemporary cartoonists, who rely on superficial headlines and shallow humour, Ajiboye’s cartoon strips, which ran for decades in the Sunday Times, a Daily Times Publications title, offer a masterclass in subtlety and nuance.

As he flips through these albums of his past work, memories of his time at Daily Times come alive. From his modest beginnings as an assistant senior artist to his promotion as group art editor, Ajiboye’s talent and dedication earned him a revered place in the publication. His cartoons not only entertained but also made bold social statements, striking a chord with the public.

But with great power comes great responsibility, and the artist’s fearless commentary on the country’s turmoil ignited a fire that refused to be extinguished. The powers that be took notice, their watchful eyes narrowing as he found himself squarely in the authorities’ crosshairs. One incident remained etched in his memory—the denial of a passport to attend a London training, a blatant attempt to silence his dissenting voice.

The cartoon in question? It was a masterpiece of satire, a clever critique of the then government’s alleged manipulation of the 1979 electoral process. The artist had depicted a cat catching a mouse, with the map of West Africa serving as the backdrop. The caption, “Democracy Murdered Again,” was a searing indictment of the government’s actions. It was a powerful statement, one that had clearly ruffled the feathers of those in power.

Then, there is a photograph of a painting he once produced, which was about the first O’oni. Ajiboye takes pride in his unique composition and interpretation style, embodied in this stunning, albeit slightly surrealistic, depiction of the “O’oni”—a true masterpiece. As he recounts, the entire picture was already vividly conceived in his mind’s eye before he began to paint.

Depicting the inaugural priest-king of Ile-Ife, the 42” x 31” oil painting presents a majestic bust in earthy hues, which imbues it with an aura of inapproachability. Regally asserting its presence, the bust commands the viewer’s attention. The topless figure it depicts exudes quiet authority, lavishly adorned with trappings of office—including a headgear and bead necklaces—while grasping what appears to be an inverted cow horn in his left hand.

Against the backdrop of this painting, the vibrant traditional Yoruba asọ oke fabric cascades down the right side, drawing the eye to intricate textures and patterns that invite the viewer’s touch. On the left, the legendary staff of Oramiyan stands sentinel, a monolithic reminder of the ancient town’s storied past. Soft, warm sunlight trace bold lines across the horizon, casting a golden glow over the ruins in the background, which whisper tales of old Ile-Ife. This captivating scene pays homage to the timeless Yoruba saying, which loosely translates in English as: “Here is where the sun sets to light up the world.”

Later in his studio, where canvases stacked like treasures hold the stories of his brush, the artist proclaims his artistic creed. At its core lies a critique of politics and social life, intertwined with a documentary gaze that captures the heartbeat of his reality.

As he delves into the complexities of documentation process, his approach becomes clearer: not to replicate reality, but to reimagine it. By doing so, he breathes new life into the familiar, inviting viewers to see the world through his eyes.  A striking example of this creative alchemy is a recent painting inspired by a 1964 photograph of his wife. Frozen in time, her gentle posture is transported to a realm born from his imagination, where the past and present converge.

Ajiboye’s artistic journey meanwhile began with his learning to read and write in English and Yoruba. His creative spark ignited, and drawing became integral to his life. With no mentors, his natural talent earned him top honours in school. Chiefs, who visited his father’s palace back then, used to be transfixed by his artwork, asking, “Did you really draw this?” 

Growing up within the palace walls, Ajiboye was enveloped by the beauty of art, courtesy of the renowned Bamgboye family, master woodcarvers from Kwara State. However, turning his passion into a livelihood seemed a distant dream. After his parents’ passing, Ajiboye joined the Sudan Interior Mission (SIM)—which later became the Evangelical Church of West Africa, or ECWA—in 1961, taking his first steps as a trainee artist. Under the guidance of seasoned mentors, he honed his skills, later advancing them at Yaba College of Technology, Lagos.

Ajiboye later freelanced, illustrating for Daily Times, where he caught the attention of the chairman, Babatunde Jose. Despite initial reservations, Ajiboye accepted a lucrative offer, enticed by the promise of creative fulfilment. However, he soon found himself at odds with the chaotic work environment. Disheartened, he resigned, but the chairman’s persuasive efforts eventually drew him back. He went on to spend 29 eventful years at Daily Times, navigating its bureaucratic red tape and leaving an indelible mark. 

As the septuagenarian looks back on his life’s work, he knows that his unwavering passion has been the driving force behind his success. Inspired by the likes of Professor Wole Soyinka and Onyeka Onwenu, he chose art over wealth, and in doing so, discovered a sense of purpose that illuminated his path.