The Murals.ng Collection

SG-01

GẸ̀LẸ̀DẸ́

The Divine Feminine. The drums call, and the women gather.Wrapped in àṣọ-òkè that catches firelight, they move as one, a sacred circle tightening into rhythm. This is not spectacle. It’s invocation.A ceremony of reverence for mothers. For the feminine as power, protection, and presence. Culture, in motion.And once it starts, it moves through you too.

₦800,000

WD-44

Òṣùmàrè’s Light

A monumental wall composition built from rhythm, geometry, and gold. Each pattern reads like a verse sung to the sun. This piece translates ancestral visual logic into a clean, contemporary system of circles, stripes, and directional marks. Afro-modern and gallery-grade, it anchors the room with quiet authority, shaping mood, warmth, and presence as light moves across the surface.

₦500,000

PK-42

Jagun Jagun

JAGUNJAGUN is a one-of-one hand-painted mural on Àwónà fabric, inspired by the fighting spirit of Anthony Joshua, a son of Ogun State. This work channels the Yoruba warrior code: discipline under pressure, resilience after every fall, and the resolve to rise until victory is claimed. Not decoration.A weapon for the wall.Made for those who fight to the end.

₦20,000,000

EditionOne of One

RX-77

Ori Inú

A divine gift from Olódùmarè. In Yoruba cosmology, Ori Inú is tied to destiny, the inward compass that quietly governs one’s life. This work translates that idea into visual language, rendering consciousness like an interface: coded, disciplined, deliberate. The figure reads as a conduit between reality and the divine, acting as an inward guide rooted in wisdom, intuition, and spiritual direction.

₦800,000

SG-97

Ikèngà

The embodiment of will, personal power, earned status, and forward motion. Ikenga is inner alignment before outer results. Rendered as a ritual armor. Its design logic draws from thangka traditions, where radiant tones and precise goldwork elevate spiritual imagery into a consecrated field.

₦500,000

FS-44

Voice of Ra

Drawing from Egyptian revival aesthetics, Voice of Ra celebrates the sun as a symbol of truth and divine power. The stylized profile recalls the pharaonic designs of ancient temples, reimagined through a modern African lens. It embodies radiance, knowledge, and eternal watchfulness, a reminder that enlightenment is both birthright and discipline. For those who live by vision, not chance.

₦1,000,000

JC-85

Olóyè

This is fàájì with pedigree. A toast to Yoruba opulence. This piece captures ìgbádùn as a ritual: a refined spirit of celebration, abundance without noise, pleasure without apology, and beauty that feels inherited. A study in Yoruba grandeur and leisure.

₦800,000

SC-09

ỌJÚ HAI

A mural about what lives above and below the surface — held in permanent, productive tension. The upper half is raw visual force: bold diagonal stripes radiate from a central eye, energetic and elemental, the kind of mark that was made before anyone decided what to do with it. The lower half is its opposite: a figurative form inscribed with dense, structured geometric markings — a body that has been through something and carries the evidence permanently. Two completely different visual languages sharing one composition. The tension between them is not a problem the viewer is meant to resolve. It is the intelligence of the piece. This mural is for spaces that hold complexity without needing to explain it. The private study that contains contradictions. The hospitality interior that must be simultaneously welcoming and commanding. Any room designed for people who understand that the most interesting surfaces are the ones that reward a second look. What the space gains: psychological depth. One viewing is never enough, which means the room holds its guests longer than the furniture alone could manage.

₦500,000

TQ-23

The Watchers

₦1,000,000

RX-13

IYỌBA

The architecture of feminine authority. This mural reads as a sovereign presence rather than a simple portrait. The figure is held in stillness, frontal and composed, as though installed to govern the emotional temperature of the room. The dark face, the marked forehead, the weight of the collar, and the geometric field around her all suggest rank, discipline, and inherited power. Named Iyọba, after the queen-mother tradition of Benin, the work draws from the visual logic of royal presence in Nigerian art history, where adornment was never merely ornamental but a language of status, protection, and command. Here, that language is reinterpreted through a contemporary luxury lens. The face becomes emblem. The wall becomes throne. Presence becomes structure. The result is a mural about feminine authority at its highest register. Not softness. Not spectacle. Power held in perfect control.

₦800,000

VN-48

CONVERGENCE

A mural built from the geometry of directed intelligence. It turns a wall into a spine. No figure. No face. Only system. Three registers of geometric intelligence — angular fragment fields at the periphery, a powerful receding vortex of parallel lines at the center — pull every eye in the room toward a single vanishing point of absolute clarity. The palette is gold and charcoal: two forces that do not compromise, only contrast. The surface reads as architecture as much as image. The language it speaks is structural. This work belongs in spaces where direction matters — where the room must communicate that decisions made here are not tentative. The corporate reception that must establish authority before a word is spoken. The private residence of a person who has no patience for ambiguity. Any interior that requires a visual center of gravity capable of holding the weight of what the space is used for. What the space gains: directional authority. A room that previously had four equal walls now has one that leads.

₦500,000

TQ-12

The Eweka Collection

Hall of Unity

This vision of royal ceremony within the palace becomes a metaphor for Nigeria’s social contract. The leader sits enthroned as steward while citizens dance in graceful devotion, embodying the harmony between strength and nurture. Kingship is portrayed not as dominion but as service—a metaphor for governance in which authority and grace converge to renew the realm, just as good leadership and civic responsibility must sustain our republic’s impending rise.

₦6,000,000

GradeÀWỌ̀NÀ (hand painted wallpaper)

EditionOne of One

SL-94

UKARA

The architecture of encoded prestige. This hand-painted mural draws from the conceptual world of ukara: the prestigious cloth tradition of the Cross River region in which Nsibidi signs transformed surface into a language of rank, belonging, and restricted knowledge. Historically worn by initiates and displayed in ceremonial spaces of the Ekpe society, ukara operated not as ornament alone, but as social intelligence made visible. Here, that inheritance is reinterpreted at architectural scale. The stylized face is embedded within a disciplined field of arcs, marks, and divisions that make the mural read like a coded textile translated into wall form. The image does not simply depict presence. It organizes it. It gives the room hierarchy, restraint, and a sense of initiated meaning. The result is a mural with the character of a rare object: poised, ceremonial, and exacting. A work that turns the wall into a prestige surface, and the interior into a chamber of recognition.

₦800,000

SC-01

IJELE

The Ijele is the most sacred masquerade of the Igbo — the face of the collective ancestors made visible, appearing only when the stakes are absolute. This face does not belong to any individual. It belongs to every generation that preceded the room it inhabits. The space becomes a place where the weight of collective lineage is felt before a word is spoken.

₦500,000

AW-70

The Eweka Collection

Visionary

Depicting the Oba as seer and architect, this piece celebrates Nigeria’s capacity for innovation. The leader’s outstretched hand conjures light—both a literal image and a metaphor for our people’s genius in imagining and manifesting achievements ahead of their time. Attendants embody wisdom, ritual and vitality, transforming vision into form. Benin’s great feats—the walls, the bronzes, the ordered cities—become metaphors for Nigeria’s emerging technologies and artistic prowess, reminding us that progress begins with imagination.

₦6,000,000

GradeÀWỌ̀NÀ (hand painted wallpaper)

EditionOne of One

WD-86

ANYANWỤ

ANYANWỤ Named for the eye of the sun, this piece is composed as an instrument of illumination, perception, and power. Its layered geometry and ceremonial structure give the wall the force of a charged object rather than decoration. A defining piece for interiors shaped by presence, depth, and meaning.

₦800,000

WK-76

War Code

An emblem of force, reduced to its most disciplined form. Angular geometry meets coded surface markings, creating a visual language of rank, protection, and controlled power. The result is not decoration, but authority made legible.

₦500,000

KN-63

Alhaji

The violence of conviction. Alhaji is a Culture-Tech artifact created as a symbol of force, command, and disciplined ambition. Inspired by Aliko Dangote, the work channels the spirit of the builder: relentless, strategic, and expansive. Meticulously hand-painted on Awọ̀na fabric, it is designed for luxury spaces and for those who see themselves in its code: founders, collectors, industrialists, and cultural tastemakers whose presence is defined by vision, stamina, and authority. Alhaji is a signal. It embodies doggedness, scale, and the quiet violence of conviction.

₦10,000,000

EditionOne of One

PK-94

OLÓKUN

The intelligence of depth. This hand-painted mural draws from the force of Olókun, the Yoruba and Edo-associated deity of the deep ocean, long connected with wealth, mystery, spiritual power, and the unseen abundance that lies beneath the surface. In this piece, that mythology is not rendered literally. It is translated into structure, mood, and presence. The profile figure appears held within a curved, enclosing form that reads like vessel, tide, or submerged horizon. Around it, spirals, markings, and coded geometries suggest hidden systems at work beneath visible reality. The mural feels less composed than surfaced, as though the wall has revealed only one layer of a much deeper order. That is where its power lies. Olókun governs what is concealed but potent: memory, intuition, pressure, beauty, and value not immediately available to the casual eye. This mural brings that logic into the room. It creates an atmosphere of cultivated depth, where luxury is expressed not through excess, but through mystery, restraint, and the sense of something rare being held just below full disclosure.

₦800,000

DX-98

ÌLÀ OKÒ

(The Mark of Lineage) Yoruba scarification tradition Yoruba facial marks — ìlà — are not aesthetic choices. They are permanent documentation of lineage, title, and social covenant. The face wearing these marks has been claimed — not by a person, but by a lineage that predates this room by centuries. The space becomes one where identity is not performed or projected, but inscribed.

₦500,000

WD-89

NCHETA

Named for the Igbo word for remembrance — understood not as sentiment but as the structural act of storing, organizing, and retrieving what a civilization cannot afford to lose — NCHETA is a monumental study of memory translated into system logic. The face does not sit cleanly at the centre of this piece. It emerges from within a dense, total field of geometric modules — triangles, spirals, concentric circles, hatched corridors, encoded grids — as though identity itself has been archived, compressed, and rebuilt through pattern. This is Culture-Tech at its most precise proposition: memory is not feeling. Memory is infrastructure. And infrastructure can be installed.

₦1,000,000

PK-64

AJÈ OLÓKUN

AJÈ OLÓKUN is a hand-painted instrument of economic presence. It draws on the idea of wealth not as display, but as force: a living field that shapes movement, influences choice, and determines what settles into a space. Rooted in the symbolic logic of Ajè and the deep abundance associated with Olókun, the piece is designed to install that field into the wall. This mural is made for spaces that must begin their commercial work before a word is spoken: hospitality environments, private client spaces, luxury developments, executive lobbies, and rooms where trust, stature, and value need to be felt immediately. It is not for spaces trying to appear wealthy. It is for spaces that need to develop the gravity of wealth itself. When AJÈ OLÓKUN enters a room, the room changes function. Value feels assumed. Decisions feel easier. Exchange feels magnetized. The space does not merely reference prosperity. It is engineered to hold its frequency.

₦800,000

MR-93

The Radiant Sunkeeper

This piece channels mythic energy, a sun-crowned figure with elongated, sculptural proportions. The gold surface feels like hammered metalwork, giving it a handcrafted, ceremonial aura. Combined with the deep green marble backdrop and flanking sculptures, it creates a spiritual, almost temple-like atmosphere. This option feels alive with light, texture, and warmth. Best for: If who want something symbolic, radiant, and spiritually expressive.

₦500,000

CT-94

ÀṢÀ

Named for the Igbo word for beauty — a quality understood in its deepest cultural register not as physical appearance but as the visible expression of a woman's completely organized inner life — ÀṢÀ is a monumental study of feminine elegance as sovereign force. The figure does not perform her beauty. Eyes closed, head held in quiet inward authority, the sweeping golden planes of her form folding gracefully inward — this is a woman whose elegance requires no audience, no confirmation, no external measure. ÀṢÀ beauty originates from a source too deep to be applied. It can only be expressed. And in this piece, it has been expressed at the scale of an entire wall.

₦1,000,000

TQ-82

EZE MMỤỌ

EZE MMỤỌ is not a ghost. In Igbo cosmology, the ancestral spirit king is a governing force: accumulated lineage held in active intelligence, carrying what the living have not yet earned the right to know. This face does not haunt. It holds. The coded markings, architectural headdress, and inscribed border are not decoration but system, record, and compressed knowing rendered in painted form. Made for spaces where legacy is the primary force, family homes, estate interiors, rooms where inheritance is felt before it is spoken, this mural installs ancestral presence at full architectural scale.

₦800,000

BG-16

The Threshold Sovereign

A face built like an entrance rite. Part mask, part gate, the work turns the wall into a ceremonial threshold. It gives the space the authority of something guarded, entered, and earned.

₦500,000

VN-54

Ogiso

Ogiso reimagines sovereign authority as a culture-tech field. Drawn from the title of the ancient rulers of the Benin Kingdom, the piece does not approach kingship as costume, nostalgia, or historical reenactment. Instead, it translates rulership into visual code, reducing the figure to its most essential signals: sight, breath, mark, and command. The result is a monumental presence that feels less like portraiture and more like an activated interface for origin, order, and encoded power.

₦1,000,000

WK-97

ULI

THE INSCRIBED WALL Named for the ancient Igbo tradition of wall inscription — a notation system carried by women, encoding seasonal, social, and cosmological intelligence directly into living surfaces. This mural does not hang on the wall. It is the wall — a field of curvilinear record anchored by a disc of compartmentalised knowing, written at the scale the tradition always deserved. Made for interiors where the intelligence of the space must run deeper than what the eye immediately resolves. Uli does not ask to be read. It simply ensures the room has always had something to say.

₦800,000

JC-57

The Spear

A meeting of incision and containment. The sharper forms carry momentum; the central curve holds it. The result is a mural about disciplined power, not display.

₦500,000

FS-21

NZE

Named for the highest traditional title in Igbo society — conferred not by inheritance but by demonstrated integrity, earned across a lifetime and then carried into permanence — NZE is a monumental presence study of what authority looks like when it has stopped performing. The face is treated as a ceremonial interface: its crown structure operating as a signal band for status, memory, and inherited power; the gold radiating not from surface application but from within the planes of the face itself, as though rank has become a physical condition rather than an assigned position. This is Culture-Tech at architectural scale — leadership encoded as field, not figure.

₦1,000,000

BG-33

ADA EZE

THE KING’S DAUGHTER Named for the firstborn daughter of royal Igbo lineage, the one born already prepared, already adorned, already holding. This mural installs the intelligence of inherited sovereign authority into the architecture of a space. The inscribed earrings, the gold-and-crimson pectoral, the arch that frames her as both figure and threshold, none of it was acquired. It was given at origin. Made for residences where lineage is the primary force, and the environment must carry the weight of what was passed down, not merely what was built, Ada Eze does not consecrate the room. She confirms it.

₦800,000

FS-99

ADE ILẸKẸ

The Beaded Crown, Yoruba royal tradition, The Yoruba ade is not a symbol of royalty — it is a living instrument. Each beaded crown carries a charge that activates when worn, absorbing the àṣẹ of every ancestor who wore it before. The face within this mural's crown is absorbed by it — consumed into a larger authority. The space receives the charge. Not from the person — from what they inherit.

₦500,000

SL-01

MMỤỌ

Named for the Igbo force that crosses the threshold between the spirit world and the material — not as symbol, not as representation, but as presence made structurally visible — MMỤỌ is spirit rendered as system. The commanding face is not portraiture. It is an apparition interface: a visual architecture through which memory, identity, and unseen intelligence are made legible in a room. The figure is simultaneously ancestral and post-human — as though it has emerged from an older metaphysical order and been reformatted into a new cultural operating language.

₦1,000,000

BL-41

Ọ̀BÀRÀ

WHEN PATTERN REACHES CONSCIOUSNESS. This piece takes its force from the logic of emergence. The face appears not as something merely painted, but as something drawn out of a deeper field of order. The headdress, linear framework, and fractured geometry operate like a pressure system around the figure, producing presence through structure. Named through the charge of Ọ̀bàrà, a principal Odù Ifá, the piece gives the room a sense of controlled intensity, as though identity itself has been summoned into form.

₦800,000

RX-79

Ọ̀RỌ̀

A mural of sovereign feminine intelligence. It does not fill a wall — it presides over a room. This work operates in two registers simultaneously. Above: a radiating geometric web — gold line on dark ground — expands outward from a single apex point, the visual language of invisible architecture, of systems that operate before anyone names them. Below: a strong feminine face with parted lips, direct gaze, and gold ceremonial adornment at the shoulders. She is not a portrait. She is a statement. The parted lips are not expression — they are the moment authority becomes audible. This mural is made for spaces governed by intelligence rather than status. The boardroom that needs no introductions. The residence where the first impression is irreversible. Interiors where the person who owns the room does not need to be present for the room to operate on their behalf. What the space gains: a presiding intelligence. The room does not wait to be read — it reads first.

₦500,000

VN-35

ÌJỌBA

Named for the Yoruba principle of governance — not the person who governs, but the encoded structure through which governance operates across generations — ÌJỌBA is a monumental study of authority as system. The face does not belong to a ruler. It is the face of governance itself: frontal, fixed, mask-like, carrying the unchanging quality of a protocol that has been running longer than any single person who has operated within it. This is not a presence that feels or adapts or performs. It holds office. Permanently. And the room it inhabits becomes, by extension, the interior of the system it embodies.

₦1,000,000

RX-08

CONSECRATED

A mural of perfect bilateral authority. It does not ask for the room — it claims it. Fully symmetrical on deep emerald green. A composed face enclosed within a sweeping gold arc — not a frame, a consecration. Strong almond eyes, absolute stillness, and at the chest: a mandala form radiating outward in geometric precision. The bilateral symmetry signals immediately that this is not a portrait of a person. It is the architecture of a force — designed with the deliberateness of ceremonial regalia, scaled to the full height of the wall it commands. Nothing in this composition is accidental. Every line earns its place. This mural belongs in spaces that must communicate judgment. The private reception hall where clients arrive knowing the meeting has already begun. The residence that must feel sovereign from the entrance. Any interior where the room itself must function as a statement of the standards held within it. What the space gains: the quality of being assessed. Everyone who enters understands, without being told, that this room operates to a standard.

₦500,000

RX-01

Olórì

Olórì is a monumental study of feminine rank, elegance, and social authority. Named for the crowned woman, the one whose presence carries distinction, refinement, and visible consequence, the piece transforms the wall into a field of poised command. The central face is not treated as passive portraiture or ornamental beauty. She appears self-possessed, watchful, and fully aware of her own value, a woman whose presence does not merely enter a room, but quietly organizes it.

₦1,000,000

PK-08

IWÁJÚ

A mural of sacred presence. Not decoration — occupation. A profile face on deep forest green. Simplified to pure essential form. Behind it: a radiant gold disc, not a halo but an announcement of charge. Below: horizontal gold striations — stacked bands of accumulated authority, rank made textile, rank made permanent. The mosaic surface texture ages everything it touches: this work does not feel recent. It feels like it has always been in the room, assessing every generation that passed through. The face does not turn to meet you. It does not need to. This mural belongs in spaces that must command without speaking. Hotel lobbies that set a tone before check-in begins. Private reception halls where the client's stature must be established before the meeting opens. Residences where the owner understands that the most powerful statement is one that does not require an audience. What the space gains: presence that precedes the person. The room has authority before anyone enters it.

₦500,000

BP-83

OGẸDẸ

OGẸDẸ is the Culture-Tech proposition that the most durable things cannot be accelerated without being distorted. Named for the Igbo intelligence of deep, patient unfolding — something that develops at its own rate, without being reorganized by external urgency — this piece presents a face still visibly in the act of becoming: excavated from a sweeping diagonal field of encoded intelligence, resolving at the edge into a living profile with eyes closed, lips set in the patient composure of one who knows what is forming cannot be rushed. The pattern is not decorative surround. It is the source material — still active, still unfolding in the layers that have not yet resolved.

₦1,000,000

BL-80

The Regal Empress

This design is bold, architectural, and unmistakably stately. The central face, crowned with sharp ArtDeco lines, radiates strength and authority. The surrounding gold totems and patterned columns give the whole installation a palace-like presence. It feels like entering a cultural throne room, powerful, symmetrical, and opulent. Best for: If you want a dramatic, grand entrance with a strong cultural signature.

₦500,000

PK-24

Aanu

Aanu is a monumental study of grace, dignity, and feminine composure expressed as living presence. Named for mercy, favor, and the quiet benevolence that rests visibly upon a life, the piece presents the woman not as an object of display, but as a vessel of settled elegance. Her stillness does not read as passivity. It reads as arrival. A woman whose inner life has come into order, whose bearing has been shaped by refinement, softness, and strength held in correct proportion.

₦1,000,000

SL-83

The Serene Guardian

A tall, elegant female figure rendered in deep black and gold, with flowing geometric motifs that feel both modern and ancestral. The mood is softer and more introspective. The artwork becomes a calm guardian presiding over the space, with subtle curves and patterns adding warmth without overpowering the room. The flanking sculptures reinforce the sense of ritual presence. Best for: If you want a refined, gentle, culturally grounded focal point.

₦500,000

JC-03

DIBIA

DIBIA is the Culture-Tech proposition that intelligence is not a single system — it is the ability to hold all systems at once and read from whichever one the moment requires. Named for the Igbo master of integrated knowledge — trained not as a specialist but as a synthesist across divination, medicine, cosmology, and social intelligence as one living practice — this wallpaper presents a face emerging from a field of many coexisting encoded languages: sectioned blocks, fine hatching, bold triangles, curved spirals, pictographic marks. Different scales of intelligence, none subordinate to the others. The orange circle at the forehead is the third-signal mark — the open frequency through which intelligence arrives from sources single-system thinkers cannot access.

₦1,000,000

WK-22

OMENALA

OMENALA is the Culture-Tech proposition that tradition is not the opposite of the future — it is a system robust enough to survive translation. Named for the Igbo living customs of the land — understood not as inheritance frozen in time but as an active cultural intelligence that continues to organize how a people see, build, remember, and belong — this piece encodes that intelligence as spatial field. The ritual marks on the face are the lineage's signature: the covenant of belonging inscribed directly onto the carrier. The patterned surround is not decoration. It is the operating grid — the same intelligence held at the same frequency, practiced and repeated until it becomes the condition of the space.

₦1,000,000

AW-74

IKE

IKE is a monumental study of full human force when it is completely organized and directed. Named for the Igbo concept of power — not authority conferred by rank, but the raw, concentrated force of capability that exists in a person before the world has given it a name — this wallpaper encodes that force as architectural field. The furrowed brow is not stress. It is the visible register of Ike in operation: the mark of a presence bearing real weight by deliberate choice. Face and pattern occupy the same plane as equals — capability not above the context, but in it, working it, from within.IKE is made for those who build through the sustained application of their full force — for whom capability is not a resource to be managed carefully but a condition to be expressed completely. The founder who does not hold back. The builder who takes on what others have assessed as too heavy and carries it without making it the story.When IKE is installed, the room becomes a field of concentrated capability. Half-commitment does not sustain itself here. The gap between what a person is capable of and what they are currently deploying becomes structurally present and impossible to ignore. IKE does not motivate. It holds the room at the frequency of total capability, permanently activated.

₦1,000,000

FS-12

ADA NNA

the father’s daughter. lineage, carried with grace. Concept / Synopsis: Ada Nna is a monumental study of feminine lineage, inheritance, and composed authority. Named for the first daughter, the one who carries not only affection but continuity, the piece reimagines her presence at architectural scale. The central figure appears in profile, calm and self-contained, framed by a luminous circular field that reads like halo, signal, and ancestral seal at once. She is not presented as ornament, muse, or passive beauty. She appears as continuity made visible.

₦1,000,000