Queen Idia and Oba Esigie
2025This creation of the replica of the 19th century looted artifact is embedded in my continued study of the Benin Kingdom’s artistic and political history, particularly the legacies of Queen Idia and Oba Esigie, figures whose stories tied to the artefacts taken during the 1897 British invasion. Their narratives embody not only the cultural brilliance of the Benin Empire but also the resilience, strategy, and spiritual strength that shaped edos history.
Queen Idia, the mother of Oba Esigie, is celebrated as one of the most powerful women in West African history. Her image is immortalised in iconic ivory and bronze works which symbolises wisdom, political diplomacy, and mystical protection. Queen Idia played a pivotal role during the Benin Idah war in the 16th century, using both intellect and spiritual authority to secure the kingdom’s stability. Many of the most recognisable Benin Bronzes depicting her face, decorated with intricate coral beading and headdresses, were among the objects removed and scattered across Western museums during the colonial period. These objects, while often admired purely for their craftsmanship, lose their true power when detached from Idia’s story: a story of leadership, sovereignty, and maternal influence that shaped an empire.
Oba Esigie, one of the most influential monarchs in Benin’s history, ruled in an era of political reform, artistic expansion, and strengthened diplomacy. Under his reign, the bronze guilds flourished, producing works whose complexity and symbolism illustrate the spiritual and political architecture of the Benin court. Many artefacts linked to his reign including royal plaques, ceremonial regalia, tools and palace objects are today found in institutions far from their place of origin. These pieces are not mere decorations, they are evidence of an artistic traditions, historical record-keeping, story tellying and the sacred relationship between the Oba, his people, and the spiritual world. This work speaks on what we are doing today for reparation.
Through art and research, I strive to challenge how institutions categorise African objects as static, “tribal,” or detached from their original meaning. For example removing the traditional meaning and function by not connection with the places these objects are from. These works are living histories. They carry lineages, spiritual authority, and memories that continue to shape contemporary Edo identity. By creating new sculptures in conversation with these historic pieces, I want to show that the children of Benin kingdom are still connected to these artifacts, we deeply want to find connection with them and the time they were created in, to bridge past and present and to honour my heritage while contributing to an evolving artistic legacy.
My goal is not only to touch on the richness of African history, but to reclaim its narrative, restore its dignity, and assert the cultural sovereignty that has long been overlooked in Western spaces. The royal kingdom in sevral places in Afric are still vast in rich history and traditions that can be seen as Art but it is beyond that. The story of Queen Idia, Oba Esigie, and the looted Benin Bronzes are not solely historical accounts but they are living testimonies of resilience, artistry, and archived history through sculptures that continue to inspire and influance the art world and personally my pratice.