Sculptures Speak in Matt Ehizele's "Udu Ematon"

By Udemma Chukwuma

Works on view at Udu Ematon (The Heart of Steel) reveal Matt Ehizele's mastery of welded steel, where industrial materials are reimagined as sculptures 

Walking into Matt Ehizele’s solo art exhibition titled Udu Ematon (The Heart of Steel), at the National Museum, Lagos, Nigeria, visitors are immediately greeted by sculptures that command attention without overwhelming the space. The gallery becomes a landscape of towering figures, playful abstractions and expressive wall-mounted reliefs, each inviting close inspection.

And there is something profoundly transformative about Ehizele's works. The sculptor demonstrates that steel is far more than an industrial material; it is a language through which stories of identity, family, culture and emotions can be told.

One of the exhibition’s defining pieces is the monumental female figure carrying a large spherical form. Standing confidently in the gallery, the sculpture radiates strength and elegance despite its mechanical construction. Every welded component contributes to a graceful silhouette that evokes motherhood, endurance and the quiet resilience of African women. The sphere she cradles appears to symbolise life, memory or the burdens and blessings carried across generations.

Another highlight is the wall sculpture Family, a minimalist composition that reduces the human form to circles, lines and polished steel spheres. Yet within this simplicity lies remarkable emotional depth. The varying sizes of the figures suggest parents and children, while reflective metallic eyes create an uncanny sense of presence. The work speaks to unity, belonging and the invisible bonds that hold families together.

Similarly, Prince and Princess, fashioned from found engine components and coiled springs, offers a contemporary interpretation of portraiture. Rather than pursuing realism, Ehizele captures personality through balance, proportion and symbolism. The polished metal surfaces reflect both light and the viewer, subtly reminding us that identity is shaped through interaction and shared experience. 

Movement finds expression in Ijeghe Dancer (2025), a compact yet energetic sculpture that appears suspended in perpetual motion. Composed of looping steel rods, bolts and tightly wound coils, the work translates rhythm into sculptural form. It pays homage to performance traditions while embracing a distinctly contemporary aesthetic.

Throughout the exhibition, abstraction serves as a powerful storytelling device. Faces emerge from industrial fragments, limbs are suggested rather than fully described, and bodies are assembled from mechanical forms that retain traces of their previous lives. Instead of disguising recycled materials, Ehizele celebrates their history, allowing each piece to embody themes of renewal and adaptation.

Ehizele’s practice is rooted in the inventive use of recycled steel, automotive components, pipes, springs and other found materials, transforming objects once destined for disposal into enduring works of art.

The exhibition also reveals the artist’s remarkable command of scale. Monumental sculptures coexist comfortably with intimate wall pieces, each maintaining its own visual and emotional impact. Whether standing before a towering steel figure or examining the subtle details of a small relief, viewers are encouraged to slow down and appreciate the craftsmanship embedded in every weld and curve.

Beyond technical mastery, Udu Ematon succeeds because it remains deeply human. These sculptures are not merely exercises in fabrication; they are reflections on community, memory, ancestry and cultural identity. Ehizele demonstrates that discarded materials can be transformed into objects of beauty and significance, offering a powerful metaphor for renewal in contemporary African society.

The opening attracted artists, collectors, curators and art enthusiasts, many of whom engaged in lively conversations with the artist about his creative process and the stories behind the works. Their presence underscored the exhibition’s significance within Nigeria’s contemporary art landscape and highlighted the growing appreciation for sculpture as a dynamic and evolving art form.

With Udu Ematon (The Heart of Steel), Matt Ehizele has delivered more than a solo exhibition. He has presented a compelling meditation on the transformation of materials, of ideas and of the human spirit. Through steel, he reveals warmth; through abstraction, he uncovers humanity; and through recycled objects, he constructs narratives that will last long after visitors leave the venue.

The solo exhibition of sculptures and drawings opened on Saturday, July 18, and runs till Saturday, July 25, 2026.

Udemma Chukwuma is a freelance journalist. She contributes to The Nation Newspaper and The New Telegraph, tackling pressing issues and shedding light on untold stories. Her in-depth analysis of art and culture showcases her keen eye for detail and commitment to truth. She is the author of Left with Shadows, her debut book, published in 2020.