Nigerian ceramic sculptor and artist, Chris Onaivi Ekuafeh, has opened Unity Forged in Clay, a solo exhibition that draws on clay, culture and personal experience to explore one of humanity’s enduring questions, “How can people remain different and still belong together?”

The exhibition opened on Saturday, September 26, at Quintessence Gallery, Victoria Island, Lagos, and continues until October 10, 2026.

Featuring 13 ceramic works, Unity Forged in Clay is Ekuafeh’s first solo exhibition on Nigerian soil and follows his first solo show in China in 2025, after a residency at the Taoxichuan Arts Centre in Jingdezhen, one of the world’s historic centres of ceramic art. At the heart of the exhibition are two deceptively simple questions: What is unity? And are we united as a people?

Ekuafeh, however, thinks unity does not necessarily have to demand uniformity. “Unity, for me, is not sameness,” he said. The idea is reflected throughout a body of work in which distinct forms, patterns, faces and cultural references coexist while retaining their individual character. “Unity unveils to me bits and pieces of different entities coming together to achieve a thing,” he said.

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Works in the exhibition include Identity, Where We Connect, What the Fire Kept and Kin, with titles across English, Yoruba and Ekuafeh’s native Igarra language. The choice of language, like the forms themselves, is driven by the story and meaning of each piece rather than by a single cultural frame.

The works reflect a creative journey formed across several Nigerian environments and traditions. Born in Kano and trained at Ahmadu Bello University, Zaria, where he studied Industrial Design with a specialisation in ceramics, Ekuafeh says his exposure to northern Nigerian architecture and material culture first awakened his fascination with clay.

The geometric patterns associated with northern architecture continue to appear in his work, while the distinctive faces he carves into some of his pieces draw from his Edo heritage. Lagos, where he now lives and works, has added another layer to the practice, exposing him to contemporary artistic influences and encouraging an increasingly research-driven approach. The result is an artistic vocabulary in which culture, identity, spirituality, emotion, community and human connection repeatedly intersect.

Ekuafeh said clay is more than a convenient artistic medium. His relationship with the material begins from sourcing from the earth, digging, preparing and processing the clay before shaping it into finished work. That physical process has become part of his understanding of both creativity and human experience.

The work captures that connection through scenes of the artist working directly with clay – pressing, shaping, carving and building – alongside reflections on diversity, fracture, belonging and the continuous work required to sustain unity. Rather than provide predetermined answers, Unity Forged in Clay invites viewers to arrive at their own.

Individual works combine sculptural forms with recurring markings, human features and patterns that encourage closer looking. Some begin with sketches and carefully developed ideas; others evolve more organically as Ekuafeh works with the material, allowing the form to develop alongside the thought that inspired it.

This tension between intention and discovery is central to his practice. Clay becomes both material and collaborator. And the exhibition is a visible expression of the process. Unity Forged in Clay is an opportunity to bring years of experimentation, cultural inquiry and technical practice into a focused solo presentation before returning to the studio to develop the next body of work, Ekuafeh said.

Beyond that, however, Unity Forged in Clay leaves its larger question with the audience. “If different particles of earth can be worked, fired and brought together without losing the marks that make each form distinctive, what might that suggest about people, communities and society?”

Photo Caption: From Left, Ofuma Agali, Business Lead, The Candella & Company; Saheedat Lawal, Gallery Supervisor, Quintessence Gallery; and Chris Ekuafeh; at Ekuafeh’s ‘Unity Forged in Clay’ exhibition, held at Quintessence Gallery, Victoria Island, Lagos, Saturday, 26 September 2026

Veteran Nigerian actor and film executive, Oludotun Baiyewu Jacobs, popularly known as Olu Jacobs, has died at the age of 84.

His death was announced by his son, Olusoji Jacobs, in a statement shared on Instagram on Wednesday, September 16, 2026.

The family described the late actor as “The Lion of Lufodo” and appealed to bloggers and social media influencers to respect their privacy as they mourned his passing.

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“It is with gratitude to God for a life well lived and fought, that we announce the passing of our dear husband, father, grandfather and uncle. The Lion of Lufodo,” the statement read.

The family identified him as Oludotun Baiyewun Jacobs, MFR, and gave his dates as July 11, 1942, to September 16, 2026.

Jacobs was one of Nigeria’s most recognised veteran actors, with a career spanning theatre, television and film.

Afrobeats star Ayra Starr’s meeting with New York City Mayor Zohran Mamdani has ignited attention online, but beyond the photo ops, the public is wondering what that stunt says about the music industry, particularly Afrobeat, and the Nigerian’s career.

Many are of the view, going by the fan reactions, that the encounter highlights the growing cultural influence of Nigerian music on the global stage.

Ayra Starr shared photographs of herself with Mamdani on Instagram on Thursday CC, captioning the post, “Mr Mamdani 🙏🏾.”

The pictures showed the singer and the mayor smiling, laughing and pointing at each other in a relaxed setting.

Adding to the curiosity was the music accompanying the post — Ayra Starr’s “Midnight in New York.

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Released in August 2026 as part of her third studio album, Starrgirl, the song carries a strong connection to the city in both its title and inspiration.

Ayra has spoken about the personal experience behind the track, linking it to her experience of being in New York and the sense of independence that came with living away from home. That detail has made the Mamdani photograph particularly intriguing.

A Nigerian singer posting a picture with the mayor of New York while her New York-themed song plays in the background creates an obvious cultural connection.

However, there is currently no confirmation that “Midnight in New York” was the reason for the meeting or that the song and the mayor’s appearance were part of a planned collaboration.

From Nigerian Breakthrough to Global Star

The moment also reflects just how far Ayra Starr has travelled in her career.

She emerged prominently after joining Mavin Records, releasing her self-titled debut EP in 2021 before following it with 19 & Dangerous. Songs such as “Away,” “Ija,” “Sare,” “Bloody Samaritan” and “Rush” helped establish her identity and build an increasingly international audience.

“Rush” became one of the defining songs of her early career, pushing her beyond Nigeria and strengthening her profile among international listeners.

She continued that momentum with songs including “Sability,” “Commas” and “Rhythm & Blues,” while her second album, The Year I Turned 21, showed a more mature side of her artistry.

Her international collaborations have further expanded that reach. Her music has increasingly brought together Afrobeats, R&B and global pop influences, allowing her to compete for attention in a music industry where African artists are no longer viewed simply as regional acts.

Her 2026 album Starrgirl represents another stage in that evolution, bringing together Afrobeats, Afropop, R&B and other global sounds, with collaborations involving major international and African artists.

Why the Mamdani Moment Matters

New York occupies a unique position in global culture. It is one of the world’s most influential cities in music, fashion, entertainment and politics, while also being home to a large African and Nigerian diaspora.

For Ayra Starr, therefore, being publicly associated with the city’s mayor carries significance beyond a celebrity photograph.

It demonstrates how Nigerian artists are increasingly becoming part of cultural conversations in major international cities.

Watchers note that Afrobeats has undergone a similar transformation. What was once largely identified with West African audiences now commands international streaming audiences, global collaborations, major festival stages and attention from some of the world’s biggest entertainment markets.

Ayra Starr’s career is a reflection of that shift.

More Than a Viral Photograph

The online reaction to the photographs was largely playful and celebratory.

Fans described the pair as “two icons,” while others joked about asking Mamdani for a freestyle and declared that “NYC belongs to Ayra now.

One follower jokingly wrote, “Tell Mr Mamdani to give us a freestyle.”

Another described the encounter as “When two icons link up.”

The song itself became part of the conversation, with one fan joking that Mamdani had “heard Midnight in New York.”

Another declared: “NYC belongs to Ayra now sorry mr Mayor.”

Other fans celebrated Ayra Starr’s continued rise, with comments such as “Star girl season,” while another described Ayra and Mamdani as “Two beautiful personalities.”