Ibadan, Nigeria – Less than a year ago, a painting by Oluwole Omofemi hung, unguarded, at the side entrance to the grey concrete building where he maintains his two-room studio.
Just steps above one of Ibadan’s busiest thoroughfares, the young woman in the portrait had a confident stance, her face framed by a halo-like afro. She hung exposed yet unbothered by hundreds of passersby.
