Lightbox photograph. Large digital photographic print mounted inside a painted, wood-framed lightbox, painted black. Print depicts three figures wearing grey camouflage on a mountainside. The mountainside stretches from the top left to the bottom right corner of the horizontal print. In the other half of the image, the cloudy sky is shown and another trapezoid-shaped mountain is visible in the background. The three figures are spaced evenly along the mountainside and are shown in profile. The figure higher up the slope is sitting with knees bent, head down and arms circling their knees. Figure in middle is most in focus, shown kneeling on the ground, head bent forward, with their arms stretched out in front. The figure towards the bottom of the slope is sitting with their back to the camera, with their head tilted down, leaning back on their right arm. The mountainside is covered in an assortment of grey, brown and white rocks, and pieces of obsidian.

Hand-pulled linocut print depicting a female dancer standing in the sea, with mountains and a cloudy sky in the background. Dancer is wearing a shawl, shirt and knee-length skirt; hair is down and she is barefoot. Head is tilted and right hand is raised to her ear; left hand is held out to the side. Wide curved lines extend from around her hands, touching the edges of the print. A lightning serpent is depicted below her in the sea; shown in profile. Along the bottom edge of the print the edition number, title and artist signature are written in pencil.

Woodblock layered print depicting a female dancer wearing a headdress of a female lightning serpent; dancer is also being led by the supernatural being. Figure is wearing a shawl with circular motifs, short pants and tall boots. Large white circle behind dancer's face; filled with curved rows of dots and trimmed with plain bands and dots. In bottom right corner of print, there is a row of dancing women; heads are tilted down, left hands are raised and right are at sides with their palms down. All are wearing shawls, shirts and knee-length skirts. Wavy bands stretch across print; bands are either plain or filled with circular motifs. Small lightning serpents throughout background; circles with star-like shapes in their centres throughout background. Print has a yellow background with designs overtop done in black and white. Along the bottom edge of the print is the edition number, title and artist signature are written in pencil.

Head of a female Bunraku theatre puppet (part a) with stand (part b). She has a white oval-shaped face, long white neck and elaborate black coiffure. She has a wide nose, large light grey eyes and her eyebrows are light blue. Her lips are painted dark red, teeth are black. Her hair is pulled back into three buns. Front bun is secured with cord, and the centre bun is held in place with a kushi (comb) and kogai (hair tool). Both are made of black lacquered wood with iridescent plastic decorations embedded in them. Designs are floral and coloured red, light purple, white, light pink and light blue. The bottom bun is secured with a two-pronged, gold-coloured metal hair pin. The top has a circular medallion with a floral motif. The head is attached to a wooden rod with a handgrip. Two cords, with toggles, run through the grip, and into the head, to control neck and eye movement. The grip fits into a wooden stand (part b), supporting the head at an angle.

Large three-headed bark cloth dance mask. Central head extends from dome-shaped headpiece. Identical smaller heads jut out from either side of its neck. They all have large semi-circular foreheads, wide round eyes, long straight faces, and thin protruding lips. Mouths are open and have large curved circles attached underneath. Entire mask surface is painted white with stylized triangular and circular motifs done overtop in black and red. Black rectangular panels painted across backs of heads and across headpiece. Panels are filled with triangular, linear and floral motifs. Mask frame made out of bamboo rods, bent and tied together.

Mushroom-shaped, bark cloth pubic cover. Consists of a bamboo cylinder, wrapped in bark cloth and secured with plant fibre, and circular head. Cylinder extends from back of cover. Structure of head formed with an inner strip of bamboo. Front is painted white. Cylinder is visible from front, in centre, and painted red, with a matching dotted line bordering it.

Etching of a clear-cut landscape in black ink on off-white paper; vertical orientation on black background. Large tree is in foreground with a humanoid figure sadly looking up at it. Figure is holding a staff with two smaller figures wrapped around it. Background is filled with tree stumps; mountains and hills throughout. Mix of fluffy and dark clouds in the sky. All depictions in etching are made of formline design elements. Etching number, title, artist signature and date made written along the bottom edge; blind-embossed stamp in bottom right corner. Framed.

Drawing of a barren landscape in black ink and graphite on off-white paper; vertical orientation on white background. Ovoids, filled with formline design elements, are piled in centre of drawing with broken pieces around them; smaller ovoids are half buried in the ground nearby. In the background is a large pole with a small figure halfway up it. Figure has an ovoid-shaped head; face and body are made up of formline design elements. It is holding a decorated ovoid above its head; plain ovoids attached to top of pole. Artist signature and date made written in bottom left corner. Framed.

Drawing of a humanoid figure in black ink and graphite on off-white paper; vertical orientation on white background. Figure has a large ovoid-shaped head with long hair and its tongue sticking out. Face and body are made up of formline design elements. Figure is crouched in water, with its hands raised, water trailing from its fingers; fingers are long and tentacle-like. Water has dark patches throughout. Artist signature and date made written in bottom left corner. Framed.

Egungun costume. One-piece mask and costume; the cloth mask, with a circular frame, is made of black velvet-like material. Metallic, silver scalloped ribbons decorate the sides and back. The front of the mask is made of a cowrie shell embroidered mesh panel, with wide gaps between the rows where the eyes would be. In the centre of the mesh panel is a hanging strand of cowrie shells and painted beads, with a small bell at the end. Strand secured to panel with plant fibre. A small red, stuffed ball is attached to the bottom centre of the panel. Along the forehead of the mask, above the cowrie shells, is a wide curvilinear motif done in sequins and beads. Fabric covered square board is stitched to the top of the mask. It has a central floral motif and short brown fringe along its edges. Heavily beaded panels hang from all sides of the board- three on the front and each side, one along the back. Panels depict curvilinear, geometric and animal motifs in sequins and beads. Back panel has “AYÏBAMA” written across it. All are lined with orange cotton. Bottom of mask has a frilled collar. Collar made of dark green velvet-like material with metallic gold ribbons, red trim and thick white and red fringe. Underneath the collar, attached to the front and back of the mask, are two weighted bags. Extending from the bags are three layers of long lappets. The top layer is covered entirely in sequins and beads. The designs are geometric, animal and curvilinear. The second and third layers are made of velvet-like material and have geometric, linear and curvilinear motifs. All beaded lappets are trimmed with metallic red zigzag ribbons. First layer of velvet-like lappets are trimmed with silver zigzag ribbons, second layer trimmed with gold zigzag ribbons. All lappets are lined with machine-printed cotton that have frog designs across them. Underneath all of the lappets is a plain red cloth, trimmed with a black zigzag ribbon.