Peju Layiwola

Peju Layiwola
Peju Layiwola
Born	Adépéjú Olówu; 29 September 1967; Benin City, Edo State, Nigeria
Nationality	Nigerian
Education	University of Ibadan University of Benin
Alma mater	University of Ibadan, University of Benin
Occupation(s)	Artist, sculptor, professor
Parent(s)	Babátúndé Ọlátòkunbọ̀ Olówu, Princess Elizabeth Olowu (née Akenzua)

Last updated May 27, 2024

Peju Layiwola, is an art Historian and visual artist from Nigeria who works in a variety of media and genre. She is listed as a "21st Century Avant-Garde" in the book Art Cities of the Future published by Phaidon Press.^[1] She is currently a Professor of Art and Art history at the University of Lagos ^[2]^[3]^[4] and has been described as a "multi-talented artist."^[5] Her works can be found in the collection of Microsoft Lagos, Yemisi Shyllon Museum, Pan Atlantic, Lagos and homes of private collectors such as JP and Ebun Clark and the Obi of Onitsha.^[6]

Biography

Born Adepeju Olowu, Layiwola is the daughter of Babatunde Olatokunbo Olowu and Princess Elizabeth Olowu (née Akenzua).^[7] Her paternal grandfather was a business magnate who established the first cinema and printing press in Benin and the Delta region in the old Midwestern state. Her maternal grandfather, meanwhile, was Oba Akenzua II, king of Benin, who reigned from 1933 to 1978. She is also a cousin to DJ P Tee Money (born Thompson Iyamu). Layiwola has built on the artistic tradition of her mother, Princess Elizabeth Olowu, the first female bronze caster in Nigeria,^[8] a status she achieved through resilience in a culture that is very patriarchal.^[9] Her dual Yoruba and Edo heritage and history has inspired her professional practice.

Educational background

Layiwola started her primary education at Emotan preparatory school, had a length of time at St Maria Goretti College and graduated. She began her secondary education at the Federal Government girls college at Benin city, she proceeded to the University of Ibadan where she studied Art History and University of Benin (Nigeria) where she studied Visual art history.^[10]

Professional background

Layiwola received a BA (Metal Design) from University of Benin in 1988, and an MA and PhD (Visual Arts) from the University of Ibadan, Nigeria in 2004. She is the founder of the Women and Youth Art Foundation, an organisation committed to empowering women, young girls and youth through the arts. She has also served on art juries.^[11] Layiwola, who initially began working with metal, now explores a broad range of media that engage with history, memory and cultural expropriation.

Her focus is on personal and communal history with the Benin kingdom's dual status as both ancient and modern as a focal point. Much of her work emphasizes themes such as the colonization of sacred assets from the Benin kingdom and asserting her place in the male dominated field of bronze casting. Layiwola is also an advocate against artifact pillaging, and argues in favor of repatriation and restitution.^[12]

In her most ambitious solo exhibition, Benin1897.com:Art and the Restitution Question (2010), Layiwola's return to the punitive expedition to Benin in 1897 and the looting of prized cultural artifacts from the bedchamber of her forebears brings together her personal and communal history. Her other collaborative public project, Whose Centenary? (2014) is also informed by history and the archives. She gave a talk at the Rhode Island School of Design in 2019, and one at the CAA-Getty International Program in 2018 on her work.

Of her work and inspiration, she says "I got a lot of inspiration from my mother, having seen her as a young girl casting in metal. So, I opted for metal design at the University of Benin, which was broader spectrum from what she studied because she did metal casting under sculpture. But I specialize in metal design, which incorporates jewelry production, metal casting etc."^[13]

As a feminist Layiwola has dedicated her time to empowering women through education in the arts. Layiwola's art projects and mentorship programs have been described as having had an impact on generations of younger artists around Nigeria.^[14] Layiwola currently hosts workshops on a traditional form of tie dye called adire, which involves dying cotton cloth an indigo color using a starch resist made of cassava flour.^[15] Layiwola would go on to launch a solo exhibition titled "Indigo reimagined" in 2019, that highlights different types of traditional Yoruba and Edo crafts such as poetry, metalwork and various dyed textiles.^[16]^[17]

Teaching career

Layiwola started her career at University of Benin in 1991 and went on to the University of Lagos in 2002. She rose to the role of Acting head of Creative Arts at the University of Lagos from 2013 to 2015 and the head from 2017 to 2020. She pushed for an overhaul in the curricula and edited the first journal of the department. Under her tenure, the Lagoon gallery was established a contemporary community engagement platform at the University of Lagos.^{[ citation needed ]}

Selected awards

The Sub-Saharan Africa (SSA) Arts Cultural Exchange grant (2021/2022)^[18]
Life member and Distinguished Scholar Award, Lagos Studies Association, (2021)^[19]
Honorary award and recognition by the state of Arkansas- Ambassador of Goodwill Award, State of Arkansas (2019)
Nominated Tyson Scholar, Crystal Bridges Museum of American Art, Bentonville, Arkansas Fall Semester (2019-2020).^[20]
African Multiple Cluster of Excellence, University of Bayreuth Grant, 2020
African Multiple Cluster of Excellence, University of Bayreuth, Germany grant (2019-2020)^[21]
Distinguished Visiting Scholar at the University of Arkansas (2019-2020)
Tyson Scholar at the Crystal Bridges Museum, Bentonville, USA (2019)
Terra Foundation for American Art Grant (2018-2019)^[22]
CAA-Getty Alumni grant (2018)
US Alumni Exchange Award (2018)
Terra Foundation grant for American Art in 2018
Goethe Resident Artist grant, (KNW) in Düsseldorf in 2017
US Consulate Small Grant (2017)
Distinguished Researchers Award Faculty of Arts, University of Lagos 2007
Nominated for the International Visitors Leadership Program (IVLP) on the cultural preservation programme in the United States (2012)
NYSC Merit Award Lagos State1989
The Best Graduating Student at the University of Benin Art School in 1988
Departmental prize in Applied Arts in 1987

Advocacy for return of stolen art

Layiwola has led public advocacy for the return of art works stolen from Benin during the Punitive Expedition of 1897.^[23]^[24]

Selected writings

Layiwola Peju (2017) Transcultural Conversations: American Art and Nigerian Art in Dialogue, Nka: Journal of Contemporary African Art-41, November, NKA Publications, NY, pp. 140– 152.
Layiwola, Peju (2017). 'Festivals and the Sustenance of a Collective Memory', Book review article. A calendar of Traditional Nigerian Festivals by Frank Aig Imuokhuede, Eyo Journal, 20, Vol 2.
Layiwola, Peju (2016) 'Art at the Heart of Giving: Bruce Onobrakpeya and the Harmattan Workshop in Retrospect, Onobrakpeya and the Harmattan Workshop, SMO Contemporary, (16 September – 16 December 2016), Lagos Court of Arbitration, Lagos.
Layiwola, Peju (2015) 'Whose Centenary? Public Art Project as an Expression of Colonial Memory' Nigeria Field Society Journal, 85 th Anniversary, No 80, pp. 51–68.
Layiwola, Peju (2015) 'Ben Enwonwu's The Risen Christ as a Religious Icon at the University of Ibadan' The City State of Ibadan: Text and Context Ed. Dele Layiwola, A publication of the Institute of African Studies, University of Ibadan in collaboration with Bookbuilders (Editions Africa), Ibadan. pp. 169–176
Layiwola, Peju (2015) Walker and the Restitution of Two Benin Bronzes, Eyo Journal of the Arts and Humanities, Maiden Edition, Department of Creative Arts, University of Lagos. Ed. Peju Layiwola. pp 175–185.
Layiwola Peju (2014) Clad in Gold: The Art of the Jewel Smith in Ibadan: African Notes, vol 33, No. 1&2, Journal of the Institute of African Studies, University of Ibadan, Nigeria. pp. 18–26.
Layiwola Peju (2014) Making Meaning from a Fragmented Past: 1897 and the Creative Process, Disturbing Pasts: Memories, controversies and Creativity, Open Arts Journal, The Open University UK, Ed. Leon Wainwright, Summer Issue 3, pp. 86–96.
Layiwola, Peju (2014) A Walk through the Hearth, Mandela: Tributes to a Global Icon. Ed. Toyin Falola, Carolina Academic Press, Durham, North Carolina. pp. 288–289
Layiwola Peju (2013) Dele Jegede and His Enduring Legacy at the University of Lagos, Parodies of a Nation: Nigeria and the Art of Dele Jegede, Eds. Aderonke Adesola Adesanya and Toyin Falola, Africa World Press, USA. pp. 369–378
Layiwola Peju (2013) 'From Footnote to Main Text: Re/Framing Women Artists from Nigeria' in Africa and Its Diaspora in Africa and Its Diasporas, n.paradoxa, Ed Katy Deepwell, KT Press UK and Andy Warhol Foundation for the Visual Arts, New York, Vol.31, pp. 78–87
Layiwola Peju (2012) 'Welding the Lethal to the Unusual: Olu Amoda and the Art of Metal Assemblage', Cequel: Shattering the Barriers of Artistic Conventions, Ed. Ohioma Ifuonu Pogoson, Institute of African Studies, University of Ibadan, Ibadan. pp. 112–123.
Layiwola Peju (2010) 'Lace Culture and the Art of Dressing Well in Nigeria', African Lace: A History of Trade, Creativity and Fashion in Nigeria, Eds. Barbara Plankensteiner and Mayo Adediran, Museum of Ethnology, Vienna (Museum fur Volkerkunde,), National Commission for Museums and Monuments, Nigeria, Snoeck Publishers, Rudy Vecruysse, Ghent, pp. 167–180.
Layiwola Peju (2010) 'Resurrecting the Disappeared: A Recontextualisation of 1897', Benin 1897.com: Art and the Restitution Question, Eds. Peju Layiwola and Sola Olorunyomi, Wy Art Editions, Ibadan, pp. 1–12
Layiwola Peju (2009) Calabashes as Receptacles of Traditional Medicine and Repositories of Culture Amongst the Yoruba People of Southwestern Nigeria.' in A Textbook of Medicinal Plants in Nigeria, Ed. Tolu Odugbemi, University of Lagos Press, Lagos. Pp 81 – 92
Layiwola Peju (2009) New Forms of Commemoration; Royal Textiles of Benin, The Nigerian Field, Vol. 74, 1 and 2, Pp. 5–19.
Layiwola, Peju and Biayere, Kunle (2007) 'The Politics of Memory in the Dramatic Space: Two Distant Views of Ovonramwen N’ogbaisi' in Revisiting History Through the Arts, Ed. Peju Layiwola, National Gallery of Arts, Abuja, pp. 84–97.
Layiwola, Adepeju (2007) 'Benin Massacre; Memories and Experiences', Benin Kings and Rituals, Court Arts from Nigeria, Museum of Ethnology, Vienna (Museum fur Volkerkunde Wien), Museum Qua Branly (Paris), Ethnologishes Staatliche Museen zu Berlin and the Art Institute Chicago, Ed. Barbara Plankensteiner, Snoeck Publishers, Rudy Vecruysse, Ghent, pp. 83–90.
Layiwola Peju (2006) 'Tangible Heritage in Nigeria, 'Nigeria: Cultural and NaturalHeritage, A Unesco World Heritage publication, Ed. Rafael Valencia, Librose, Copernic, Viking, Barcelona, Spain. Pp. 280–305.
Layiwola, Peju (1997). 'Gender Tempered Through Metal: Women in Bronze Casting in Benin, Nigeria' in Writing African Women: Gender, Popular Culture and Literature in West Africa. Ed. Stephanie Newell, Zed Press, London. pp. 191–197.

Selected exhibitions

Artificial Facts and Boundary Objects, 20 June – 20 September 2015, Kunsthaus Dresden, Municipal Gallery of Arts, Dresden, Germany/Objectas Fontera at CA2M in Madrid, Spain 4 November 2015 to 28 February 2016; Group travelling exhibition:
Whose Centenary? Collaborative Public Art Project, Igun Street, Benin City, 6/7December 2014. Group public art performance and exhibition. Supported by the University of Lagos Research Grant
Benin1897.com: Art and the Restitution Question, a Solo Traveling Exhibition by Peju Layiwola, Lagos, 8 April-30 May 2010, Main Auditorium Gallery, University of Lagos/The Museum, Institute of African Studies, University of Ibadan, Nigeria. Ibadan, 20 August-10 October 2010
Joint show: Identities and Labels: Eight Contemporary Nigerian Women Artists, Pan African University Lagos, 24 September-8 October 2005
Of Bronzes and Prints: a Mother/Daughter Perspective: an Exhibition of Sculptures, Reliefs and Prints. Goethe Institute Lagos, Two-person exhibition by Princess Elizabeth Olowu and Peju Layiwola. 14–25 June 2003.
Solo Show: 'The African Woman: An Exhibition of Bronze Sculptures,’ Flowerfield Arts Gallery, Portstewart, Northern Ireland, U.K, May 1996. Women, Art and Society: Queen's University of Belfast, Armagh Campus. N. Ireland, UK, September 1996
Orimipe, performance at the opening and close of the Exhibition. Performed by Sixteen males to register the entry of males into the art of indigo dyeing which was predominantly a female preserve. The men developed the use of stencils for mass-producing these textile patterns. University of Lagos 2018-2019

Residencies

The Raw Residency, Rhodes University, Grahamstown, South Africa, 15 April- 15 June 2018.
Artist-in –Residence, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. 8 October-8 December 2017.

Works cited in

Tobenna Okwuosa (2017) Peju Layiwola's Art: An Engagement with Benin History and the 1897 Tragedy in The Art of Nigerian Women, Ben Bosah Books, USA. pp. 278–28.
Antawan Bryan (2014) 'Peju Layiwola', Art Cities of the Future: 21 st Century Avant-Gardes, Phaidon Press, London pp. 178–179.
Barbara Winston Blackmun (2013) Contemporary Contradictions: Bronzecasting in the Edo Kingdom of Benin', A Companion to Modern African Art. First Edition, Eds. Gitti Salami and Monica Blackmun Visona, John Wiley Blackwell and Sons, Inc. pp. 389–407.
Freida High (2010) Benin1897.com: 'Peju Layiwola's Metamonument', Benin 1897.com: Art and the Restitution Question, Eds. Peju Layiwola and Sola Olorunyomi, Wy Art Editions, Ibadan, pp. 1–12 pp15–40

Relevant interviews

The Challenges Visual Art Face in Nigerian Universities – Peju Layiwola (Premium Times)

Related Research Articles

The Benin Expedition of 1897 was a punitive expedition by a British force of 1,200 men under Sir Harry Rawson. It came in response to the ambush and slaughter of a 250 strong party led by British Acting Consul General James Phillips of the Niger Coast Protectorate. Rawson's troops captured Benin City, bringing to an end slavery and human sacrifice in Benin, and indeed the Kingdom of Benin itself, which was eventually absorbed into colonial Nigeria. The expedition freed slaves held by the Oba.

The Benin Bronzes are a group of several thousand metal plaques and sculptures that decorated the royal palace of the Kingdom of Benin, in what is now Edo State, Nigeria. Collectively, the objects form the best examples of Benin art and were created from the fourteenth century by artists of the Edo people. The plaques, which in the Edo language are called Ama, depict scenes or represent themes in the history of the kingdom. Apart from the plaques, other sculptures in brass or bronze include portrait heads, jewelry, and smaller pieces.

Christopher Uchefuna Okeke, also known as Uche Okeke, was an illustrator, painter, sculptor, and teacher. He was an art and aesthetic theorist, seminal to Nigerian modernism.

Chief Nike Davies-Okundaye, also known as Nike Okundaye, Nike Twins Seven Seven and Nike Olaniyi, is a Nigerian Yoruba and adire textile designer. She is best known as an artist for her cloth work and embroidery pieces.

Adire (Yoruba) textile is a type of dyed cloth from south west Nigeria traditionally made by Yoruba women, using a variety of resist-dyeing techniques. The word 'Adire' originally derives from the Yoruba words 'adi' which means to tie and 're' meaning to dye. It is a material designed with wax-resist methods that produce patterned designs in dazzling arrays of tints and hues. It is common among the Egba people of Ogun State.

Ọmọ n'Ọba n'Ẹdo Uku Akpọlọkpọlọ, Akenzua II was the thirty-seventh Oba of Benin reigning from 1933 until his death in 1978.

Bruce Obomeyoma Onobrakpeya is a Nigerian printmaker, painter and sculptor. He has exhibited at the Tate Modern in London, the National Museum of African Art of the Smithsonian Institution in Washington, D.C., and the Malmö Konsthall in Malmö, Sweden. The National Gallery of Modern Art, Lagos has an exhibit of colourful abstract canvases by Onobrakpeya and his works can be found at the Virtual Museum of Modern Nigerian Art, although no exhibitions were showing as of October 2017.

The Benin ivory mask is a miniature sculptural portrait in ivory of Idia, the first Iyoba of the 16th century Benin Empire, taking the form of a traditional African mask. The masks were looted by the British from the palace of the Oba of Benin in the Benin Expedition of 1897.

Princess Elizabeth Olowu is a Nigerian sculptor and the daughter of Oba Akenzua II, who was a leader of the Edo people in what is now Benin City, Nigeria. Olowu works in bronze, a traditional material for her people, and is known as the first female bronze caster in Nigeria. Her sculptures have a traditional flow as well as a modern and feminist perspective. She is the aunt of DJ P Tee Money, and her daughter is the artist Peju Layiwola.

Duro Olowu is a Nigerian-born British fashion designer. He is best known for his innovative combinations of patterns and textiles that draw inspiration from his international background.

Peju Alatise is a Nigerian artist, poet, writer, and a fellow at the National Museum of African Art, part of the Smithsonian Institution. Alatise received formal training as an architect at Ladoke Akintola University in Oyo State, Nigeria. She then went on to work for 20 years as a studio artist.

Adenrele Sonariwo is a Nigerian entrepreneur and art curator. She is the founder of the Rele Art Gallery on Military Street, Onikan, Lagos Island, Lagos, Nigeria as well as the Rele Art Gallery on Melrose Avenue in Los Angeles, California. Rele Gallery is the first African contemporary art gallery to establish an outpost in Los Angeles. Sonariwo was the lead curator of the first Nigerian pavilion at the 57th Venice Biennale in 2017. Alongside the Rele Art Gallery, Sonariwo is also the founding director of the Rele Arts Foundation. The foundation's projects include the annual young Contemporaries programme, which offers grants, mentorship, residences and training to a small group of emerging artists, an opportunity that results in an exhibition hosted at the gallery.

Akachi Adimora-Ezeigbo is a Nigerian author and educator, whose published work includes novels, poetry, short stories, books for children, essays and journalism. She is the winner of several awards in Nigeria, including the Nigeria Prize for Literature.

Jane Morris Barbour, néeGalbraith (1922–2012) was an English writer and social campaigner. She wrote on African art, particularly African textiles, and on the Arts and Crafts movement.

Olakunbi Ojuolape Olasope is a Professor in the Department of Classics at the University of Ibadan in Nigeria. She is an expert on Roman social history, Greek and Roman theatre, and Yoruba classical performance culture. Olasope is known in particular for her work on the reception of classical drama in West Africa, especially the work of the Nigerian dramatist Femi Osofisan.

Tunde Odunlade, born 26 November 1954, is a Nigerian artist, actor, and musician known for his Batik art tapestry and designs. He specialises in textile arts, and floatography. He is a member of the Visual Artists Network of the United States of America (VAN) and a frequent participant at the National Conference of Artists, New York. He was a performing actor with the Nigeria Cultural Troupe during Festac. He lives in Ibadan, the southern western part of Nigeria.

The Yemisi Shyllon Museum of Art is a privately-owned museum located on the main campus of the Pan-Atlantic University in Lagos State, Nigeria.

Olufela Omokeko is a Nigerian contemporary multimedia artist who works in performance, installation and photography. Born and based in Iwaya waterfront community in Lagos, Olufela is the artistic director of Slum Makers Art Project (X-MAP) in Makoko, and the co-cultural producer of the annual Iwaya Community Art Festival in Lagos.

Azu Nwagbogu is a Nigerian art curator and National Geographic Explorer at Large. He is the Founder and Director of the African Artists' Foundation, the LagosPhoto Festival and creator of Art Base Africa, an emerging virtual space dedicated to exploring and understanding contemporary African art and diaspora. He was awarded "Curator of Year" by the Royal Photographic Society in 2021, and included on the ArtReview list of the 100 most powerful people of the art world in 2021, 2022 and 2023. He will curate Benin's inaugural pavilion at the Venice Biennale in 2024.

References

↑ "Art Cities of the Future | Art | Phaidon Store". Phaidon. Retrieved 13 March 2019.
↑ "PEJU LAYIWOLA I create for women – The Nation Nigeria". The Nation Nigeria. 2 October 2016. Retrieved 11 November 2017.
↑ "An arts matriarch hits 50 – The Nation Nigeria". The Nation Nigeria. 27 December 2017. Retrieved 28 December 2017.
↑ "Adire not mere fabric, it means so much to us – Prof. Peju Layiwola".
↑ "Celebrating two generations of art, artists – The Nation Nigeria". The Nation Nigeria. 17 January 2018. Retrieved 18 January 2018.
↑ "About Me | Pejulayiwola" . Retrieved 22 August 2022.
↑ Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.
↑ "Nigerian artists keep sculpture in the family". AFP. Retrieved 7 November 2016.
↑ "The Oba of Benin Kingdom: A history of the monarchy". MG Africa. 14 November 2016. Retrieved 11 November 2017.
↑ "Peju: Working to reposition visual art and touch lives". The Guardian Nigeria News - Nigeria and World News. 11 March 2018. Retrieved 22 August 2022.
↑ "Peju Layiwola heads LIMCAF 2016 grand jury panel – Vanguard News". Vanguard News. 23 October 2016. Retrieved 11 November 2017.
↑ "Nigerian artists keep sculpture in the family". The Guardian Nigeria News - Nigeria and World News. 7 November 2016. Retrieved 11 March 2022.
↑ Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.
↑ "A Toast to a Resilient Art Amazon". THISDAYLIVE. 2 December 2017. Retrieved 26 December 2017.
↑ "Layiwola goes to museum with Adire installation". The Guardian Nigeria News - Nigeria and World News. 29 September 2019. Retrieved 11 March 2022.
↑ "Indigo Reimagined | Pejulayiwola" . Retrieved 11 March 2022.
↑ "Peju Layiwola's Textile Narratives and Reincarnation of Indigo Reimagined - THISDAYLIVE". www.thisdaylive.com. Retrieved 11 January 2024.
↑ "SSA Arts Opportunities".
↑ "Distinguished Scholar Award – 2021". Lagos Studies Association. 20 December 2021. Retrieved 5 April 2022.
↑ "Tyson Scholars | Crystal Bridges Museum of American Art". crystalbridges.org. Retrieved 5 April 2022.
↑ Bayreuth, Universität. "Rethinking the Artistic Trajectory of African Women Artists". africamultiple.uni-bayreuth.de. Retrieved 5 April 2022.
↑ "Fellows". Terra Foundation for American Art. Retrieved 5 April 2022.
↑ "Walker and the Restitution of Two Benin Bronzes, By Peju Layiwola – Premium Times Nigeria". Premium Times Nigeria. 27 July 2014. Retrieved 11 November 2017.
↑ Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.

External links

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[1] "Art Cities of the Future | Art | Phaidon Store". Phaidon. Retrieved 13 March 2019.

[2] "PEJU LAYIWOLA I create for women – The Nation Nigeria". The Nation Nigeria. 2 October 2016. Retrieved 11 November 2017.

[3] "An arts matriarch hits 50 – The Nation Nigeria". The Nation Nigeria. 27 December 2017. Retrieved 28 December 2017.

[4] "Adire not mere fabric, it means so much to us – Prof. Peju Layiwola".

[5] "Celebrating two generations of art, artists – The Nation Nigeria". The Nation Nigeria. 17 January 2018. Retrieved 18 January 2018.

[6] "About Me | Pejulayiwola" . Retrieved 22 August 2022.

[7] Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.

[8] "Nigerian artists keep sculpture in the family". AFP. Retrieved 7 November 2016.

[9] "The Oba of Benin Kingdom: A history of the monarchy". MG Africa. 14 November 2016. Retrieved 11 November 2017.

[10] "Peju: Working to reposition visual art and touch lives". The Guardian Nigeria News - Nigeria and World News. 11 March 2018. Retrieved 22 August 2022.

[11] "Peju Layiwola heads LIMCAF 2016 grand jury panel – Vanguard News". Vanguard News. 23 October 2016. Retrieved 11 November 2017.

[12] "Nigerian artists keep sculpture in the family". The Guardian Nigeria News - Nigeria and World News. 7 November 2016. Retrieved 11 March 2022.

[13] Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.

[14] "A Toast to a Resilient Art Amazon". THISDAYLIVE. 2 December 2017. Retrieved 26 December 2017.

[15] "Layiwola goes to museum with Adire installation". The Guardian Nigeria News - Nigeria and World News. 29 September 2019. Retrieved 11 March 2022.

[16] "Indigo Reimagined | Pejulayiwola" . Retrieved 11 March 2022.

[17] "Peju Layiwola's Textile Narratives and Reincarnation of Indigo Reimagined - THISDAYLIVE". www.thisdaylive.com. Retrieved 11 January 2024.

[18] "SSA Arts Opportunities".

[19] "Distinguished Scholar Award – 2021". Lagos Studies Association. 20 December 2021. Retrieved 5 April 2022.

[20] "Tyson Scholars | Crystal Bridges Museum of American Art". crystalbridges.org. Retrieved 5 April 2022.

[21] Bayreuth, Universität. "Rethinking the Artistic Trajectory of African Women Artists". africamultiple.uni-bayreuth.de. Retrieved 5 April 2022.

[22] "Fellows". Terra Foundation for American Art. Retrieved 5 April 2022.

[23] "Walker and the Restitution of Two Benin Bronzes, By Peju Layiwola – Premium Times Nigeria". Premium Times Nigeria. 27 July 2014. Retrieved 11 November 2017.

[24] Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.

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