It was one of the most anticipated exhibitions as the Christmas season approaches.

Edna Ekenimoh’s Metamorphic Weave: The Alchemy of Fiber and Pigment will undoubtedly go down in history as a landmark exhibition that set new records in terms of public appreciation and the remarkable pace of acquisitions by collectors at the venue. Before the official opening reception, the rush for Edna’s works, especially the fabrics by the early birds was nothing short of extraordinary, affirming her place as one of Nigeria’s most compelling voices in textile and mixed-media art.

Words: Ireho Aito | Don’t Keep Your Art in the Finger!

Lagos knew something significant was unfolding long before the official 3pm opening. By early afternoon on 13 December 2025, the National Museum, Onikan was already thick with movement of collectors arriving early, tourists scanning walls with intent, and fabric works quietly changing hands. Metamorphic Weave: The Alchemy of Fiber and Pigment was not easing into the season, it quickly announced itself.

Held at the National Museum, Onikan, Lagos that is undergoing intense renovation at the moment, the exhibition drew a diverse mix of collectors, curators, cultural enthusiasts, and international visitors, turning the historic venue into a perfect crossroads of global art dialogue.

Among the international guests was Dimona, a tourist from the Bahamas, who expressed profound admiration for the artist and her works. “Edna is such a wonderful artist with a great body of work on display,” she said. “I have loved being in Nigeria, and the entire experience has been interesting all the way.”

Another international guest, Helen, a Trinidadian visitor, spoke warmly about her sense of belonging upon arriving in Nigeria and encountering its rich cultural heritage. Overwhelmed with excitement, she engaged deeply with Edna Ekenimoh’s works and, alongside her husband, eagerly selected souvenirs from the exhibition, keepsakes of a cultural experience she described as unforgettable.

Also in attendance were Nigerian-American art enthusiast Kehinde Ayinde ‘Kendoo’ and his American wife, Carol Thompson, a renowned curator and art consultant. The couple was thrilled to witness what they described as “Nigeria’s living history told through art” This is a story they looked forward to taking back with them to the United States. Participating as enthusiasts at Edna Ekenimoh’s first solo exhibition, they were visibly impressed by the opening reception. From the macabre but soulful tunes of the Itsekiri cultural dance performance to the immersive ambience of the National Museum and the richness of the exhibition itself, their experience was both enriching and memorable. Delighted to fraternise with fellow guests, they proudly acquired memorabilia from Edna Ekenimoh’s celebrated body of work.

Carol Thompson, a scholar, curator and educator, has devoted her entire life to the study of African art and the African Diaspora. From her practice, she affirms that contemporary art from these regions is deeply engaging and in dialogue with contemporary art worldwide. Thereby, shaping global conversations while drawing strength from distinct histories, cultures and lived experiences.

For the artist, Edna Ekenimoh, the journey to this moment has been decades in the making.

Speaking at the opening, Moses Ekenimoh, husband of the artist, reflected emotionally on the occasion as he was full of praises to the maker for making everything possible. Moses, looking debonair in his African attire says, “First of all, we have to thank God for giving us this day. It is God’s doing. I have known my wife for over 40 years. She is a hardworking woman. When she mentioned having her solo exhibition, I never imagined it was going to be this big.

He continues, “She likes perfection and she is very well organised. Some of the works on display date back to the 1980s, when she was still at the Polytechnic in Auchi, before moving to Ahmadu Bello University. I give her kudos for her patience and hard work. This is just the beginning, I know she has more to give.”

When asked how she felt on the day of the opening, Edna Ekenimoh revealed the emotional weight behind the triumph as she was full of joy looking adorable in her perfect attires for the exhibition “When I woke up in the morning, I was nervous. I kept asking myself how it would turn out. I felt like a bride on her wedding day, who is excited but unsure of the outcome, as she awaits her bridegroom,” Edna reveals

“But it has been awesome. The way people and art enthusiasts received the exhibition has been overwhelming. There was traffic all over the museum even before the official 3pm opening, which was very encouraging,” she claps for joy.

She also confessed that the enthusiasm from the guests translated quickly into acquisitions of work. “Many of the fabric works were bought early,” she noted, “and we had to appeal to patrons and enthusiasts to be patient until the formal opening. The love shown through comments, questions, and encouragement has been incredible.”

Reflecting on her decades-long creative process, Edna added that; “People keep asking how I managed to do all this. I tell them it took time, energy, consistency, and years of dedication. I thank God for the support of my husband, my children, my friends, well-wishers, colleagues, and everyone within the art ecosystem. I currently have over 50 works on display here at the National Museum, Onikan.”

Renowned collector and enthusiast Sir John Ichue was equally effusive in his praise Edna Ekenimoh’s exhibition; “I have gone round the exhibition and I am truly excited by the quality of works on display, especially the fabrics. The concept is exceptional, and I am very proud of her. The paintings are equally strong, and the frames are quite perfect, he says with delight. “The ideas behind each artwork are remarkable. This is a collection that collectors like us will cherish. One interesting aspect is that the prices are pocket-friendly. My wife and I have already picked four fabric works.”

The glamorous opening on 13 December 2025 will be remembered for years to come. Distinguished guests were welcomed by Moses Ohiomokhare, one of Africa’s foremost curators, with support from Dr. Mudiare Onobrakpeya, Executive Director and Curator of the Bruce Onobrakpeya Foundation.

Music and dance from a cultural band lifted the spirit of the evening as food, drinks, and laughter flowed generously at the peak of the celebration. In every sense, Metamorphic Weave: The Alchemy of Fiber and Pigment was a cultural moment, a meeting point of histories, textures, and global voices, with Lagos firmly at its centre.