Susanne Wenger: Seen Through a Detail of Ṣànpọ̀nná

This remarkable work of art is located in the Sacred Potter Field, one of the three monumental sculptures in this sacred area and represents the multiple dimensions of Ṣànpọ̀nná.
‘Ṣànpọ̀nná is an earth divinity connected with matter, suffering, fever and epidemics, especially smallpox. Ṣànpọ̀nná is both male and female. Earth, Fire and the colour Red are its Symbols’. (“Susanne Wenger, artista e sacerdotessa” (artist and priestess) by Paola Caboara Luzzatto, 2009, page 174)
The number three is the sacred number of Ṣànpọ̀nná. His name is considered a taboo amongst Yorùbá traditionalists in respect of the Òrìṣà’s power. Smallpox was believed to be foisted on mankind due to Ṣànpọ̀nná’s “divine displeasure”.
The sculpture is a complex of three intertwined youthful figures, representing the complicated harmony amongst three aspects of the same deity: Alájere, the adolescent Ṣànpọ̀nná who also represents the Ọbàtálá (the deity of creation) - dimension of Ṣànpọ̀nná. Alájogun is a very important faction of the complexity of Ṣànpọ̀nná worship: he too is youthful but older than Alájere and is taking total and demanding hold of his priests. Ọbalúayé is an alias name for the deity Ṣànpọ̀nná, who is associated with infections and healing.
This magnificent work of art appears weightless and is in complete harmony with its environment. It is the creation of Susanne Wenger and Adebisi Akanji.
More than forty years later this monumental sculpture remains completely intact and has required only very minor repairs. Its longevity is attributed to the quality of materials used. Unlike so many other sculptures, where - due to the high cost of cement - earth was used in the core, this sculpture was created using reinforced cement only. It demonstrates that the restored shrines and sculptures where only cement has been used should last many years.