The making of masks is generally a creative artistic activity of imaginative unconventional models characterized by a dialectical interplay of tradition and innovation. The themes and motifs employed in this body of work are in combination of the African mask range from more or less recognizable human features combined with the textures of animal features. The morphological characteristics do not suffice themselves to emit definition of styles or rather stylistic groupings. These emerge from a comparison of individual objects, which evince similarities close enough to justify speaking of a relative continuity of form or combination of forms. The sum of similarities can then define a stylistic grouping. In placing the word style even though may be accurate, do not imply no chronological determination. In reality tribalism belongs to the phenomenon of colonialism, ethnic sensibilities in Africa are relative and ethnic identities shift and blur. The art of mask making is to not simply copy and existing model, the result is never to create a replica, let alone a faithful copy. This body of work involves an effort of thinking, reflecting a concern with something that had not yet been realized. This all came from the spirits, there is at first only a vague idea of form, then lending material shape to the mental image with all the skill at my disposal. We are a tool of supernatural forces, which guide our hands. AW22 “i am not myself” by @bubuogisi commissioned by @the_tetley museum Leeds UK for its Here, There and Everywhere project in collaboration with the @new_art_exchange IANM 5 made from handwoven wool and cotton, shoes made from recycled leather and velvet with a denim inlay