In a landscape where art patronage has long been associated with legacy families and older institutions, Osahon Okunbo is quietly carving a new path, one marked by intentional investment in emerging Nigerian talent and a belief in the creative economy as a force for transformation.
On Monday, July 21, the founder of The Osahon Okunbo Foundation (TOOF) joined 20 young artists at the Museum Gallery, Freedom Park, for the closing exhibition of Old Masters by Future Masters. The two-week programme, held in partnership with the Legacy Art Foundation and the Belgian Embassy, offered a rare opportunity for intensive mentorship under Professor Wouter Steel and Bolaji Ogunwo, culminating in a powerful public showcase.
Timed with Belgian National Day, the event opened with remarks from Belgian Ambassador Pieter Leenknegt, who celebrated the spirit of collaboration and cultural exchange the programme embodied. But it was the presence of the young artists—and the quality of work they presented—that left a lasting impression.
“I’ve been watching closely—getting daily updates, following along on social media, seeing the process unfold. And I’ve been in awe. Not just at the quality of the final work, but at what becomes possible when talent is met with structure, mentorship, and belief,” said Osahon Okunbo.
For TOOF, the exhibition is part of a growing portfolio of investments into Nigeria’s creative future. Earlier this year, the foundation sponsored the +234 Art Fair, supporting over 200 artists and helping to stage more than 700 works over five days. From art to film to fashion, TOOF is positioning itself as one of the few organisations consistently backing emerging talent at scale.
“We are profoundly grateful to our partners, The Osahon Okunbo Foundation, who recognised the value of this endeavour and helped expand the reach of this opportunity, ensuring that twice as many artists could benefit,” said Niyi Adenubi, founder of the Legacy Art Foundation.
Some of the participating artists made sales during the exhibition—an affirming moment for those exhibiting publicly for the first time. But beyond commercial milestones, the deeper impact was internal: a shift in self-perception, confidence, and possibility.
“What’s on these walls is important,” Okunbo added. “But what’s behind them—the process, the support, and the shift in belief—is what matters most.”
With Old Masters by Future Masters, Osahon Okunbo is not just backing artists. He’s staking a claim in the future of Nigerian culture—and doing so with a vision that feels both urgent and long overdue.
Seunmanuel Faleye is a brand and communications strategist. He is a covert writer and an overt creative head. He publishes Apple’s Bite International Magazine.
