The gallery at the National Museum Onikan experienced a different kind of exhibition that is defined by elegance, depth, and cultural reverence, as Professor Ebun Clark celebrated Jefferson Jonahan in a landmark retrospective. The exhibition presented over ninety works by the Auchi pastel master, Jefferson Jonahan, all drawn from the private collection of theatre historian and cultural custodian, Ebun Clark

Organised by the Oluwani Creative Arts Foundation and opened on February 28, 2026, the exhibition was a celebration of two parallel legacies, the discipline of a master artist and the devotion of a collector who understands stewardship as both responsibility and performance.

Here are some major highlights captured by iBAND Magazine from the retrospective exhibition

Words Ireho Aito | Don’t Keep Your Art in the Finger! Photographs iBAND Magazine

A Rare 90-Work Retrospective by One Artist.
The exhibition presented over ninety works by Jefferson Jonahan which is an extraordinary feat in Nigeria’s art landscape. Seeing such a high volume of pieces by a single contemporary pastel master who graduated from one of the leading art schools in Africa, Federal Polytechnic Auchi, in one space underscored his consistency, discipline, and decades-long studio commitment.

 

Professor Ebun Clark grandeur appearance in Indigo fabric

Indeed, one of the most visually arresting highlights of the exhibition was not mounted on the gallery walls but was the one worn with grace.

Professor Ebun Clark appeared in a striking indigo fabric designed by master artist Peju Layiwola, transforming the opening at the National Museum Lagos into a subtle yet powerful celebration of African fashion as wearable art.

The textile, rich in depth and tonal sophistication, was more than an attire. The fabric was a cultural statement. Professor Layiwola while commenting on the outfit from her base described it as “one of my ace designs,” revealing that she had previously showcased the piece in Arkansas where audiences were “wowed.” Her intention, she explained, was about “bringing back Indigo in a special way.”

That revival of indigo historically rooted in West African textile traditions resonated beautifully within an exhibition centred on legacy, preservation, and artistic mastery. Just as Jefferson Jonahan elevates pastel beyond its perceived fragility, Layiwola reasserts indigo as both heritage and haute expression.

Clark’s decision to wear the piece was symbolic. Known for her belief that galleries are theatres and openings are performances, her attire became part of the staging.

In that moment, fashion, visual art, and academia converged seamlessly.

A Collector’s Devotion

Drawn entirely from the private collection of Ebun Clark, the show reflected years of intentional collecting. What began with the acquisition of “Adam” at an auction hosted by Arthouse Contemporary evolved into a carefully nurtured artistic legacy built on scholarship, instinct, and stewardship.

Pastel Elevated to Monumental Status

Through subtle gradations, velvety textures, and confident mark-making, Jefferson Jonahan demonstrated that pastel is neither fragile nor tentative. As curator Moses Ohiomokhare noted, the medium became luminous, decisive, and deeply articulate challenging long-held assumptions about its limitations.

The Gallery as Theatre

Professor Clark’s insistence on participating in the installation transformed the exhibition into a staged experience. Drawing from her background, she framed the gallery as a performance space where light, spacing, and sequencing created a silent but powerful narrative rhythm.

The Dramatic Auction Story

One of the most compelling moments shared was Clark’s spirited bidding battle for Adam. The charged atmosphere of the auction room turned collecting into performance when paddle after paddle rising before her final winning bid sealed the beginning of an enduring artistic dialogue.

 

A Powerful Gathering of Art Luminaries

The opening attracted eminent cultural figures including, grandmaster and printmaker Dr. Kunle Adeyemi, painter and founder of Biodun Omolayo Gallery, Biodun Omolayo, Joe Essien, ScAN president Ato Arinze and grandmaster painter Abiodun Olaku, alongside collectors, scholars, and alumni of Federal Polytechnic Auchi. Their presence reinforced the exhibition’s significance as both institutional and familial celebration.

 

Art Rooted in Social Consciousness

Jefferson Jonahan’s works, largely monochromatic explorations of the human figure, reflect empathy and observation. Inspired by lived realities, even the stark contrast of poverty within affluent neighbourhoods, his compositions distill emotion into form, creating visual narratives that linger long after viewing.

Together, these highlights made the exhibition more than a retrospective. It became a layered dialogue between artist and collector, past and present, performance and preservation, a landmark cultural moment within Nigeria’s contemporary art scene.

 

iBAND Magazine, Celebrating Visual Arts from the Original.
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