A History Unmasked for Christies Lates: Voices of Black Artistry: Christies Lates
182 x 304 cm
Welcome to Akoje Gallery’s curated exhibition ‘A History Unmasked’. Founded in 2023 by Khalil Akar and professional rugby player Maro Itoje, Akoje Gallery is dedicated to amplifying the voices of underrepresented artists from Africa, the Caribbean, and the diaspora. This exhibition, bringing together three amazing visual artists along with the brilliant Kai Collective and the wonderful Tony Fairweather, occupies four galleries— Ante Room, Long Gallery, East Gallery, and New Gallery—each offering a unique exploration of Black artistic expression.
At the heart of this curation is an exploration of the rich significance of masks across West, East, and Central Africa. For generations, masks have served as instruments of education, entertainment, and spiritual communion. They are worn during masquerade festivals celebrating life cycles, fertility, harvest, and important community rituals. Through this exhibition, we invite you to discover how these traditional masks transcend their roles as mere artifacts, instead embodying deep religious meaning and connections to ancestral spirits.
In modern society, the symbolism of masks extends into the realm of mental health. Today, people often wear metaphorical masks to navigate social expectations, hide their inner struggles, and present a curated version of themselves to the world. These masks act as protective layers, allowing individuals to face societal pressures while concealing their vulnerabilities. As with traditional masks, these modern “masks” serve a purpose—both as a means of survival and as expressions of identity, though often with the emotional weight of unspoken anxiety, depression, or internal conflict. Through this lens, masks—whether worn in sacred African ceremonies or in contemporary social life—continue to symbolize both protection and expression, bridging the spiritual with the personal, and the ancient with the present.
With the help of our lovely sponsors Anapüshii, EMCA, Simply Rasha, Latham & Watkins LLP and FlowZed, the exhibition has been able to take form as follows:
Akoje Gallery Artworks (Ante Room)
Discover works by contemporary artists Olawunmi Banjo, Ibiok Bright, and Giggs Kgole. Banjo presents a striking interpretation of the Yoruba ‘Gẹlẹdẹ’, while Bright’s depiction of the Ekpo masquerade highlights Nigeria’s cultural heritage. Kgole explores the idea of masks as symbols concealing inner demons, inviting viewers into a dialogue about identity and self-discovery.
Akoje Residency x King's Foundation: Artist in Residence Programme (The Long Gallery) Led by multidisciplinary artist Shanti Bell, this interactive workshop explores personal identity through 3D textile sculptures. Participants will experiment with colour and texture, creating pieces that reflect their own heritage, race, and personality. You are welcome to join the workshop throughout the evening.
Kai Collective (East Gallery)
Credited by British Vogue for creating the ‘hottest dress’ of the summer, Kai Collective is a love letter to women taking inspiration from traditional Nigerian dressing. Kai Collective will showcase five hero pieces from the latest collections amongst an African fashion photography exhibition.
Tony Fairweather & the Windrush Collection (New Gallery)
On show will be original artefacts from the Windrush era, designed for future generations to learn about and appreciate the brave young immigrants who came to Britain from the Caribbean and Africa between 1948 and 1971.
Ekpo Masquerade by Ibiok Bright
Ekpo Masquerade is one of the oldest tradition in Africa which was known to maintain law and order in the society. The cult was known to originate from spirit of the dead ancestor and deities who came back from the spirit world to manifest and demonstrate the cultural values to the people in the living world, and is founded on the belief in life after death.
Functionally Ekpo masquerade, as it represents ancestral spirits and acts as an intermediary between our world and that of the ancestors, it has some social functions, like discipline, consequences, and justice.
In my pictorial composition of the Ekpo masking tradition, I have tried to capture the nitty- gritty of the historical facts about the Ekpo origin in its practice on two canvases
Titled; “The Masquerades Preparation” and “The Commemorating Function”!
In the Masquerade Preparation, pictorial features of the feminine and masculine figures rendered with the trick of lines, depicts the initiates / custodians of the Ekpo masking tradition with their masqueraders (spirit bodies) going through the initiation and adornment process for the Ekpo festivity in their secret place (shrine). Also, the features of Ekpo masks, Rafia leaves, candlelight, native chalks, blades, calabash bowls, fruits and spices etc., all concocted from various elements are represented with the use of lines.
It is also important to note that my adoption of female figures in this picture, is a conceptual idea that poses emphasis of: (women cannot behold the Ekpo Masquerade), it is mostly the men affair.
The Commemorating Function, is the presentation of two fully adorned masculine with the Ekpo masquerade regalia performing the repetitive chant that invokes their ancestors in their mode of worship.
The exhumation of the human remains in both fragmented skulls and bones, and the Ekpo Masquerade sacred meals in calabash bowls are depicted below the canvas. Masquerade staffs and weapon, with the duo culture musical instruments featured from the Western and Northern part of Nigeria are all pictorials that visualize the essence of the Ekpo Masquerade Commemorating Process in this picture.
Gelede By Olawunmi Banjo
Masks have long played a significant role in the traditions and spirituality in most West Africa countries, serving as tools for entertainment, education and sensitization of communities. Beyond their cultural function, these masks hold deep religious significance, offering a means of communion with ancestral spirits and the divine. Across, West, East and Central Africa, various ethnic groups create and wear masks during masquerade festivals that celebrate harvest, important ceremonies, natural life cycles, fertility and rites of passage.
In the pre-colonial era, in what is now southeastern Benin Republic, the historical kingdom of a Yoruba subgroup named Ketu, along with the Yoruba people in the Southwestern part of Nigeria, where we have majority of Yoruba ethnic settlers, part of the Yoruba groups in these areas observed the Gelede festival.
This unique ceremony pays tribute to the Primordial Mothers (Àwòn Ìyá) and the Great Mother (Ìyá Nlá), also honors spiritually and economically powerful women in the community, particularly elders. Many of these women earned their status through their reputation in trade, craftsmanship and wealth, while others were believed to be endowed with mystical powers and possess secret knowledge about life.
The Gelede festival underscores the pivotal contribution of women to the development and prosperity of Yoruba society. Elderly women in Yoruba communities often serve as moral guardians, silently observing the activities around them and acting as the conscience of the land. Through their wisdom and influence, they right wrongs, question unacceptable behavior, and teach the importance of order. Some are even thought to possess the ability to communicate with the supernatural, mediating during times of drought, instability, infertility, or epidemics.
At the heart of the Gelede festival is the iconic Gelede mask, worn by male Yoruba performers who don colorful attire and are accompanied by singers, dancers and drummers. These performances are gestures of respect and gratitude from men to honor both the present and past women of the community. The festival highlights the benevolence of the Great Mother and the enduring contribution of women to the growth and well-being of the community. Through oral heritage, verses, and eulogies (Oríkì), the performers pay tribute to the strength, patience and balance exemplified by the Great Mother and women throughout history. The festival also serves as a platform for reinforcing cultural values and encouraging moral social behavior.
As noted by UNESCO, “The Gelede takes place every year after the harvests, at important events and during drought or epidemics”. -“The community is divided into groups of men and women led by a male and a female head. It is the only known masked society, which is also governed by women. Although the Gelede has nowadays adapted to a more patriarchal society, the oral heritage and dances can be considered as a testimony of the former matriarchal order.” (UNESCO - Oral heritage of Ge ̣̀le ̣̀dé, 2021).
The Gelede mask is a calm face with linage tribal marks and helmet in one, with various depictions and significance. There are different Geledé masks created with individual symbolism. The painting portrays the revered characteristics displayed by the female role models, mainly the Meekness of the Great Mother (Ìyá Nlá). Above the calmness is a wild cat, fierce spirited, - a poised serpent, choose to be calm but has the ability to strike, if necessary, - could act blind to things but she is also a bird, can sight things from a distance and a parrot, can stay silent, but when she speaks, she reveals. Her Meekness and calm speak to handling conflict with patience, self-control and balance. By knowing how delicate life is, one should not abuse power when we possess it and not tempt the one that wields it. The depiction on the mask is metaphoric, it alludes and encourages resolving conflict in less destructive means.
The Geledé mask is not just an artistic creation; but it stands as a visual embodiment of the tradition, values and wisdom that have guided Yoruba society for generations.
