Oni of LagosFrom the Artist To see is to know. But how can we know the unseenthe histories, the stories, or the names of a people that were undocumented or erased? I asked myself that question late one evening as I looked at the sun setting behind the hills on the Bay of Portobelo on the Caribbean coast of Panama. The view from my studio faces the ruins of a dock that was, at one time, the first encounter with Tierra Firme for many weary, shackled, and enslaved

Only the ink does

not as academic realism

Hyder took digital images—often of human faces—shot from existing original painted works

and icons found in my work are copied

The overarching fan shapes represent the aspect of each of us having a relationship to end dependency upon each other

and textiles

[My] idiosyncratic preferences for small scale and high finish seem to derive in part from a boyhood of viewing art in reproduced form in books and magazines rather than in actuality on gallery and museum walls

I hope my work stimulates a dialogue about these difficult issues

to the Sacred Forest of Oshogbo

displacement

Some figures are participating in activities

I'm just doing what I enjoy