Thomas Ona Odulate

Thomas Ona Odulate (ca. 1900–1952), a visionary sculptor from the Ijebu Ode region of Nigeria, embodies a unique figure in the history of Nigerian art, both for his prolific production and the hybrid nature of his work. Although his career began in Ijebu Ode, it was in Lagos that Ona Odulate truly made his mark by producing a multitude of innovative wooden sculptures that reflected both colonial society and the realities of Yoruba life in his time.

His sculptures are both portraits of European colonizers, such as administrators, soldiers, lawyers, and missionaries, as well as representations of traditional Yoruba roles, enriched by new professions introduced through colonization: kings, hunters, postmen, masked dancers, and policemen, to name a few. Among his most remarkable works are diverse representations, including married couples, polo players, and even Queen Victoria, reflecting the richness of cultural interactions between the Yoruba and British colonizers. His creations, sold primarily to Europeans, were often produced in advance rather than on commission, fitting into the emerging tourist economy of the time.

Ona’s sculptural style remains firmly rooted in Yoruba tradition, characterized by proportions where the head, equal in size to the torso and legs, plays a central role in expressing the represented individual. Employing traditional Yoruba sculpting tools such as the adze and knife, he infused his works with a sense of detail enhanced by the use of red and black dyes, as well as white polish, while preserving the natural color of the wood in certain parts of his creations.

However, despite this grounding in tradition, Ona distinguishes himself through an innovative approach: many of his sculptures are composed of several distinct pieces, such as hats, rifles, books, and umbrellas, elements that contrast with traditional Yoruba sculpture, which is typically carved from a single block of wood. This modular aspect, along with the repetition of certain figures in multiple versions, reveals a commitment to a more accessible and commercial art, tailored to colonial demand.

For a long time, Ona's sculptures were perceived as satirical caricatures of colonizers and their activities, interpreted by some as a social commentary, even a subtle critique of colonial dynamics. However, in a conversation with William Bascom, Ona Odulate stated that his works were merely a representation of his vision of the world around him, a visual testament to the cultural complexity of his time.

In a context where traditional religious commissions declined in favor of art intended for tourists or churches, Thomas Ona Odulate stands out as one of the most influential sculptors of this pivotal era, capturing the tensions and transformations of a society in flux.

Ona Odulate's legacy, at the intersection of traditional and colonial worlds, continues to attract the interest of art historians and museums worldwide, providing valuable insight into the complex interactions between art, culture, and colonialism in early 20th-century Nigeria.

Under a fine example of an Ibeji carved by Thomas Ona :