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Hijab 3
Hijab 3

Hijab 1

This painting speaks volumes when read through the lens of political equality in Northern Nigeria.At the
forefront, we see two figures. One male, one female,both veiled in bold red garments that dominate the
canvas.

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Description

Description

Consectetur a scelerisque

Sed risus neque, sagittis sed pellente sque at, pharetra ut nunc. Phasellus id enim eget ante pellentesque pharetra. Phasellus et nisl urna. Integer nisl dui, efficitur in vopat sodales, tempor sed orci. Donec et euismod ipsum. Interdum et malesuada fames ac ante ipsum primis in faucibus.

Etiam tincidunt dictum eros at porta. Phasellus gravida dolor in sem placerat sodales sagittis sed pellentesque at, pharetra ut nunc efficitur in vopat sodales enim eget ante pellentesque.

In pharetra turpis

Built around a solid beech frame with legs in polished stainless steel. The Wing chair employs hand-finished stainless steel legs that are virtually maintenance free. CH445 works equally well in groups and on its own, and is best placed where its elegant design can be viewed from all sides.

  • In pharetra turpis: 65.00 cm
  • Aenean pulvinar lorem: 48 colors
  • Vestibulum convallis: 2.53 m2
  • Esticotine convallis: 8.96 m

Pellentesque nec

  • Sed risus: pharetra ut nunc
  • Phasellus id: enim eget ante pellentesque
  • Integer nisl: euismod ipsum.
  • Interdum et: malesuada fames ac ante ipsum
  • Phasellus gravida: dolor in sem placerat sodales

Etiam non augue

Nullam id pires: 68.00 cm

Etiam non augue: 86.00 cm

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Hijab 3
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Hijab 3

This painting is a raw commentary on contradiction . The tension between outward beauty and inward
neglect.
In the foreground, Northern men are painted in striking red turbans, their faces dignified, almost regal.
The red fabric, rich and commanding, presents them as proud and decorated symbols of cultural identity,
status, and authority. To the casual eye, they are clothed in honor, carriers of tradition, guardians of
heritage. Yet, when we shift our gaze to the right, the truth breaks through the façade: a child, bare and
vulnerable, clings to a cow. The child’s nudity and frail state sharply contrast the ornamental beauty of
the men, exposing the neglect within the home while prestige is pursued outside.

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This artwork stands as a bold statement on the urgent need for women’s inclusion in political positions in
Northern Nigeria. It captures the tension between tradition and progress: a society rooted in cultural
identity yet held back by a system that sidelines half its population from decision-making.The imagery
emphasizes women not just as silent supporters, but as active leaders. Figures who can shape laws,
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