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                The Ballot Box Syndrome  It seems to me that many governments across the world are trapped in a paradox of time, trying to mend the cracks of the present with the tools of the past. The 20th century was an age of certainties, when nations sought order through fixed structures, hierarchical institutions, and rigid ideologies. The 21st century, however, is an age of flux, to borrow Heraclitus’ word, where problems are fluid, global, and interdependent. To keep applying yesterday’s solutions to today’s dilemmas is to misread the rhythm of history. It is like using a compass to navigate the stars, or patching digital networks with stone and mortar. This recalls Albert Einstein’s warning: “We cannot solve our problems with the same thinking we used when we created them.” By continuing to rely on outdated solutions for modern challenges, leaders risk alienating a generation that has grown up fluent in the language of i...

From the very first day she emerged as Tory leader, I remarked that she was perhaps the most formidable figure the party has produced since Margaret Thatcher. She is inherently intelligent, strong-minded, and full of energy. Her ability to marshal convincing arguments could have been enough to put the Conservatives back on the road to victory, if not for the uncomfortable reality that her race remains an unspoken barrier in British politics. In truth, I always believed she was positioned more as a caretaker than a true long-term leader of the party. Unfortunately, Kemi has not strengthened her own case. By directing sharp and often vitriolic criticisms toward Nigeria, her ancestral homeland, she has risked alienating a segment of the electorate that might otherwise have been sympathetic to her story. Politics, after all, is not only about ideology and strategy but also about the delicate art of building bridges, preserving identity, and uniting diverse communities.

When you have a reason or motivation to do something in life, nothing can stop you except yourself. On 9 March 2021, when the Director-General of the Ogidi Day Festival, Mr Tunde Ipinmishọ, first hinted that I might be called upon to be the 2022 Ogidi Day "Father of the Day," the first question that came to my mind was, why me? After a relatively long period of silence, I told him that I would consult with my wife, my children, and senior members of the Idawẹrọ clan. My initial feeling was that it was not something I should be involved in, especially since I was in the middle of raising funds to complete the St Michael's Ogidi rebuilding project, which had started in October of the previous year. We were all working towards completing the school project by June so that the official handover to the local government authority, its owner, would coincide with the Ogidi Day festival. At that stage, I did not think I had enough reason or motivation to tr...

This popular Yoruba proverb translates to “The wind has blown, and we have seen the nakedness of the chicken.” It is often used to describe a situation where pretense, hidden truth, or a person’s weakness is exposed. Just as the wind lifts the feathers of a chicken to reveal its bare skin, circumstances in life can reveal someone’s true character, flaws, or secrets that were once concealed. It can be applied in contexts such as: • When a dishonest person is exposed. • When the truth behind a matter can no longer be hidden. • When someone’s real condition (poverty, weakness, hypocrisy) is revealed despite attempts to cover it. On Thursday, 28 August, and Friday, 29 August 2025, I warmly invite you, your friends, and family to join me in the back hall of the Forest Hill Library, 82 Dartmouth Road, Forest Hill, London, SE23 3HZ,  to explore Yoruba proverbs on canvas, each accompanied by illustrations. 🕒 Times: • Thursday, 28 August 2025 — 12:00 PM to 4:00 PM • F...

This painting seeks to capture the above Yoruba proverb which literally translates to "When the cock crows, the lazy man grumbles and hisses.”  This is a figurative way of saying that opportunity, responsibility, or the natural rhythm of life doesn’t wait for anyone. A hardworking person sees the cock’s crow (the dawn of a new day) as a call to rise and get to work, but a lazy person only complains, wishing it were still night. The proverb teaches that laziness makes one resentful of progress and time, while diligence embraces it. Visit the Forest Hill Library on Thursday, 28 August, and Friday, 29 August 2025, to explore Yoruba proverbs on canvas, each accompanied by illustrations. 📍 Venue: Forest Hill Library, 82 Dartmouth Road, Forest Hill, London, SE23 3HZ 🕒 Times: • Thursday, 28 August 2025 — 12:00 PM to 4:00 PM • Friday, 29 August 2025 — 10:00 AM to 3:00 PM

This painting, on a 20" x 16" canvas board, draws inspiration from the Yoruba proverb “Aja tó má sọ̀nù kìí gbọ́ fèrè Ọdẹ” — “A dog destined to be lost no longer heeds the whistle of the hunter.” Painted against the backdrop of a fiery sunset, the hunter watching his dog walking across the savanna separated by a lone tree and the fading sun. The glowing sky, streaked with red and orange, symbolising both warning and inevitability of a destiny unfolding beyond control. The hunter stands firm with his spear, a figure of authority and guidance, yet the dog, already straying, suggests the futility of counsel when fate has taken its course. This work evokes the tension between choice and destiny, obedience and rebellion, guidance and wandering representing a reflection of human experience.

                              I am delighted to invite you, your friends and family to my 5th Art Exhibition, which will be held at: Venue: Forest Hill Library 82 Dartmouth Road, Forest Hill, London, SE23 3HZ Dates/Time: Thursday, 28 August 2025 - 12:00 PM to 4:00 PM Friday, 29 August 2025 - 10:00 AM to 3:00 PM This exhibition will showcase a collection of my recent works the theme of which is "Wisdom in Colour: Yoruba Proverbs on Canvas" I am a Carford-based impressionist and abstract artist whose journey into painting began later in life-after turning 70. Inspired by my early years in rural Nigeria and decades of city life in Lagos and London, my work is a vibrant fusion of memory, mood, and spontaneous expression. I often draw on Yoruba proverbs, nature, and personal experience to create artwork that reflects both wisdom and wonder. This marks my fifth public exhibition. Exhibition Overvie...

While returning to school after the Easter break, a friend suggested that I accompany him to a neighbouring village. Two other close friends joined us. I had heard about a pot that could speak but had never seen one before. My friend claimed they were common and assured us he could take us to see a talking pot. Upon arrival, I was ushered into what appeared to be a small living room. There, I saw something shaped like a pot, covered with a red cloth, adorned with markings that resembled two eyes, a mouth, and a nose. An old man welcomed me and beckoned me to sit down. He called his oracle by name three times, then turned to me and asked the oracle to speak directly to me. Suddenly, I heard a voice emanating from the area where the pot was placed. As it spoke, I noticed the part marked as the mouth moving in sync with the words I was hearing. It greeted me three times. To my astonishment, the pot called me by my middle name and my surname. By this point, I was visibly ner...

In Yoruba, Orente means a beautiful and graceful woman — a name that carries both elegance and quiet strength. This painting captures her silhouette against the fiery glow of an African sunset, framed by the timeless presence of the acacia tree. Bathed in the warmth of fading light, she stands as a symbol of heritage, beauty, and the enduring bond between people and the land.

In " Crimson Reflections of Dubai ," the city’s iconic skyline rises like a dark silhouette against the fiery glow of a setting sun. The bold red-orange sky mirrors itself upon the tranquil water, creating a meeting place between energy and stillness, ambition and serenity. This work captures not only Dubai’s architectural grandeur but also the fleeting beauty of twilight, when day yields to night in a blaze of colour.

In “Pinnacle,” the world’s tallest building rises like a flame from the heart of Dubai’s skyline, bathed in the glow of a desert sunset. The impressionist style captures not just the form of the city, but its restless energy where ambition meets horizon, and steel meets sky. The deep silhouettes stand as symbols of human achievement, while the molten light on the water reflects the fleeting beauty that even the most enduring structures cannot escape.  Here, the Burj Khalifa is more than architecture; it is a vertical journey of light, hope, and human daring.

This work reimagines the Yoruba proverb “Ti Ẹni bẹgí lójú, igi á rúwé” — “Strike the tree and wear the shame, for in time its branches will sprout.” The central image of a lone tree beneath a glowing moon stands as both victim and victor: its trunk bears the wound of an axe, yet its crown flourishes with new leaves, defying harm. The golden expanse evokes resilience and hope, while the deep blue night sky and moon remind us that time heals quietly but powerfully. This piece speaks to the enduring spirit of nature, resilience, the futility of destruction, and the quiet dignity of survival.

"Orí"  (Head)  draws from the Yoruba proverb, "Orí to gbẹ bọ la fi n ba aye lọ."   This translates to "Only the head that accepts sacrifice can journey well through life.” In Yoruba cosmology, orí  (the inner head or spiritual essence) is more than just the physical head. It is the bearer of destiny, the silent guide shaping one’s path through the world. This abstract composition interprets orí as a luminous force surrounded by shifting forms, colours, and textures all symbols of life’s unpredictable journey. The central focus embodies the head’s acceptance of ẹbọ (sacrifice), which in turn aligns it with divine order. Radiating strokes and layered tones suggest the movement of destiny once the head has been properly honoured, while subtle tensions in the forms reflect the challenges and choices that define each step of life’s road. In this work, I invite viewers to contemplate not just the external journey, but the unseen agreements we make wi...

This painting is inspired by the Yoruba proverb "Ori ẹni ni awure ẹni" — It is a person’s head that brings them blessings. In Yoruba thought, the ori (head) is more than just the physical form; it represents destiny, self-worth, and the unseen force that guides one’s life. The central figure, with her head adorned and bearing a basket of abundance, stands as a symbol of self-determination and the spiritual truth that our fortunes are tied to our own inner strength. The two women in the background, each carrying their own burdens and blessings, reflect the shared journey of resilience in community life. The vibrant reds, deep earth tones, and bright yellows evoke the warmth of the African sun and the richness of the land, while the blue sky opens the space for hope. The composition invites the viewer to reflect on the personal responsibility we all carry; that the path to blessings begins with honouring and uplifting our own ori .

On Saturday, 13th July, I went out with Grace for a long day in Clapham Junction. We visited Sam Sunmaila and his family to celebrate the arrival of their newborn baby boy, Ariyọ. It was there that Grace first started to feel signs of labour. We managed to get home in time for a good rest. By 10 p.m., the labour was becoming intense, and I had to call for an ambulance. They arrived within minutes. It was incredible how quickly they responded to my call. They said her water had broken and that she needed to be in the hospital as soon as possible. After about 12 hours in the labour room, my first daughter was born at precisely 10:19 a.m. on 14th July 1985. She weighed 2.740 kg. I was ecstatic. I did not know how to celebrate her arrival. My joy knew no bounds. I simply knelt down in front of the nurses and doctors and started to praise God. I had never prayed like that before. Words were just flowing from my mouth; I did not know where they were coming from but they were si...

Featured Painting: Harmony on the Line  Dates: Thursday, 28 August 2025 - 12:00 PM to 4:00 PM Friday, 29 August 2025 - 10:00 AM to 3:00 PM Venue: Forest Hill Library 82 Dartmouth Road, Forest Hill, London, SE23 3HZ Admission: FREE Exhibition Overview In "Yoruba Proverbs on Canvas," Matthew transforms traditional Yoruba sayings into powerful visual compositions. These proverbs - rich in imagery, metaphor, and ancestral insight are given new life through expressive brushstrokes, layered textures, and bold  colours. Each painting is an interpretation of a specific proverb. By merging visual art with verbal wisdom, this exhibition offers a unique window into cultural storytelling. Each one is accompanied by an artist statement presented on a laminated A4 sheet. This featured painting draws inspiration from the Yoruba Proverb: “Adiyẹ baa l’okùn, ara ò ròkùn, ara ò r’adiyẹ."  "Harmony on the Line" is a visual meditation on the Yoruba proverb that ...

Ade Ẹlẹghọnla  The exact age at which I became a shepherd boy is still unknown to me. I just remember being very young. I think my father may have instructed me earlier in my life to join the cattle-rearing team to care for his numerous herds. It must have been around the time Bọda Lawrence, of blessed memory, started primary school. I have made some calculations to estimate my approximate age when I started the job. I know that Bọda Lawrence completed his primary education in 1961, the same year I began mine. I was probably about 11 or 12 years old at that time, which was when children of my age were finishing theirs. Assuming he completed his primary education in the traditional seven years, he must have started around 1955. This would suggest that I became a shepherd boy around 1955. If I was born in 1949/50, I might have been around 5 or 6 years old when I started the job. By today’s standards, that would be classified as child abuse. However, it was part of growing...

Kẹmi Badenoch’s rise to the leadership of the Conservative Party marks a significant milestone in British politics. A woman of Nigerian heritage leading one of the most traditionally conservative parties in the UK is, by itself, remarkable.  Born in Britain, raised in Nigeria until the age of 16, her life story could serve as a powerful bridge between two worlds, Africa and the West. But instead, recent reports suggest she is choosing to disassociate herself from her Nigerian roots in favour of a carefully curated British identity, more acceptable to the political base she seeks to win over. If the story is true, this denial is disheartening. It feels as though she is spiting the very finger that once fed her; the culture, community, and experiences that shaped her formative years. In her attempt to be fully accepted by a certain segment of British society, she appears to be distancing herself from a continent whose image suffers not from lack of brilliance, but from ce...

The first thing that attracted me to Grace was her simplicity and the gentle aura of innocence that characterised her first appearance. She had also come home for Christmas. I liked Grace from the very moment I set eyes on her. I saw her across the road opposite my family home and approached her as if we had met before. This was my usual approach for starting a conversation with any girl I saw, liked, and wanted to know better. She responded with calmness and humility. She had a small camera in her hands, and I asked if she would like to take my picture. With a tone that felt like an unspoken invitation to continue, she said it wouldn’t be necessary. I introduced myself and mentioned that I would like to meet her again if possible. We met a few more times before I left Ogidi for Lagos, but I promised to visit her in Ilorin, where she lived with her parents. Before leaving Ogidi for Lagos, I told my mother I had found the girl I wanted to marry and asked her to find out mor...