The Life and Vision of Twins Seven-Seven
Born Omoba Taiwo Olaniyi Oyewale-Toyeje Oyekale Osuntoki in Ogidi, Nigeria, the artist known as Twins Seven-Seven was the only surviving child of seven sets of twins born to his mother. His name reflects this unique lineage, and it was believed he was a reincarnation of his great-grandfather, Osun-toki. As a child, he was often difficult, leading a babalawo to etch small incisions on his face with medicinal herbs to ensure his permanency in the physical realm. These etchings remained visible into his adulthood.
His artistic journey began not with a brush, but through dance at the age of sixteen, performing on the streets on his mother's behalf. He eventually attended an Mbari Mbayo workshop in Osogbo conducted by Ulli Beier and Georgina Beier. At this workshop, he developed a unique style, avoiding the influence of other painters to preserve his individual vision. His work is characterized by a fantastic universe of humans, animals, plants, and Yoruba gods, often reflecting the segmentation and repetition found in Yoruba carvings.
Artistic Legacy and Recognition
Twins Seven-Seven's creative output spanned multiple disciplines; he was a painter, sculptor, musician, textile artist, writer, and actor. His paintings often explored Yoruba mythology and cosmology, including themes such as the abiku and the orisha Osun. He described his approach as "contemporary Yoruba traditional art ," blending cultural heritage with responsiveness to the postcolonial experience. His work has been featured in major exhibitions across Spain, Finland, Mexico, the Netherlands, England, Germany, and the United States.
Throughout his career, he received several honors, including being named a UNESCO Artist for Peace in 2005. He also held various Nigerian chieftaincy titles, such as the Ekerin-Basorun and the Atunluto of Ibadan. His musical career included the release of Slang in Trance and Live at the Caravan of Dreams in 1986. He passed away in Ibadan, Nigeria, following complications from a stroke.
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