"A Tribute to Queen Idia and Her Daughters" stands as both memorial and war cry.

 The first installation confronts the colonial violence of Queen Idia's remains being held captive in London's museums. Her body, reconstructed from bamboo and living plants, grows defiantly while her head remains imprisoned behind foreign glass. The plants weave through her form, a reminder that life and resistance persist despite attempts to reduce our ancestors to lifeless artifacts.

Beside her rises a grove of 6-foot wooden phalluses, each carved in Ghana and bearing the names of Nigerian rapists who escaped justice. They stand ready for ritual burning - a ceremony of reckoning. This piece emerges from witnessing Nigeria's #MeToo movement, where young women dared to speak up only to be crushed by patriarchal violence.

 I watched as victims were bullied into silence, shamed by their communities, their voices reduced to ashes.

These wooden dicks await their ceremonial burning - a healing ritual for survivors and a warning to perpetrators.

The message is clear: Rape is murder. 

This is both threat and promise to every rapist who thinks they can hide behind power and silence.

Throughout the space, the Pan-African legacy flag hangs as constant witness, reminding us that these struggles - against colonial violence, against sexual violence, against the silencing of women - are all connected in our fight for liberation.

The exhibition transforms museum politics and sexual violence into a single conversation about power, bodies, and justice.

Queen Idia's separated remains and the victims of rape share a common thread - the violent entitlement of the powerful to Black bodies, whether through colonial trophy-taking or sexual assault.

This isn't just art. It's ceremony. It's justice. It's resurrection.

This project was made possible with the help of the people of Osikan Jamestown; A fishing community in Accra Ghana & FreeTheYouth Family. 

Love

Adesuwa.