Restoration of the Shrines and Sculptures – A Constant Cycle of Renewal

Right from the beginning, Susanne Wenger funded the creation – and any necessary repairs – of the works in the groves through the sale of her art, but money was always scarce.

To save money, earth was often used as a core and covered with a layer of cement. When the works of art collapsed, the artists would rebuild them. Creation and recreation were part of the artistic and spiritual journey.

As Susanne Wenger got older, the maintenance and repair works in the groves slowed down and then stopped altogether. Many of the structures deteriorated quickly in the harsh climatic conditions. In 2008 the AOT/F raised the first major funds for restoration on a large scale.

The team included New Sacred Art artists Saka Aremu, Ojewale Amoo, Buraimoh Gbadamosi, Nurudeen Akanji as well as artisan Adeyemi Oseni and labourer Bintu Lamidi - both shown here.

This time the works of art were created to last and only top quality cement, iron reinforcement and correct ratios of cement to sand were used. Material experts confirmed that with routine maintenance and attention to drainage, the restored works of art will last a long time.

The transfer of knowledge from the surviving elders, Adebisi Akanji and Sangodare Ajala, to a new generation was critical.
In 2015 the 'Save Our Art! Save Our Heritage!' campaign was launched by the AOT/F.

Sangodare Ajala recruited and mentored the new team.The recruits were bricklayers, carpenters and labourers. Some were related to the original artists, others showed a keen interest and talent. All respected the significance of the groves and the work they were called upon to do

The skills of all the new apprentices matured and developed under the guidance of Sangodare Ajala.
Adebisi Akanji provided technical and artistic training assisted by his son, Adebisi Nurudeen and Adeyemi Oseni, one of the original NSA artisans.

Most of the walls were originally built to mark the boundaries of the different groves, in Yorùbá called igbó and to protect the òrìṣà’s private spheres.

These are the walls around Ojúbọ Òṣogbo after restoration in 2017.

So much has been achieved: a New Sacred Art Restoration Team fully trained; 18 major shrines and sculptures restored; 1500 meters of decorative walls restored and more than 60 sculptures returned to their original beauty.

All the other shrines and sculptures in the groves need to be maintained as well.
Though built to last, they are in a forest: trees will fall; the Ọ̀ṣun river will flood; heavy rain will cause erosion - routine maintenance is therefore absolutely essential.