Suzanna Ogunjami

Suzanna Ogunjami was a visual artist of Igbo (Nigerian) ancestry. She emigrated from West Africa to Jamaica and again to New York City, where she was active from 1928–1934 and became the first African woman to have a solo exhibit in a commercial gallery in the United States.

Early life and education Ogunjami's date of birth is unknown, and her own written accounts contrast with U.S. Census and marriage records, which state that she was born in Jamaica (Ogunjami claims Nigeria as her birthplace). At a young age, she moved to Jamaica where she finished her primary education, and then moved to New York City in 1921.

Notable works

Sunflower Still Life A Nupe Princess Full Blown Magnolia

Personal life

Marriage and religion In 1915, Ogunjami married Matthew Wilson, an Episcopal clergyman, as indicated in a New York City marriage certificate (the 1930 U.S. Census has 1916 recorded). U.S. Census records show that Ogunjami's nephew, Francis H. Bowen, and her cousin, Lena Benford, lived with Ogunjami and her husband. She followed her husband into the Episcopalian faith after they were married, but records not do show what her religious beliefs were previously.

Relocation to Sierra Leone To follow Wilson's wishes to return to his homeland, Sierra Leone, Ogunjami and her husband departed New York permanently for Freetown in 1935. While her husband became involved in the Anglican church there, Ogunjami kept in contact with the Harmon Foundation, telling them that her desire was to build a school, to "train our girls and boys, not only how to use their brains but their hands also, and to fit them for future useful service." She then founded the West African Normal and Industrial Institute in Freetown, as well as another school located twelve miles outside of the city.

Besides her educational efforts, Ogunjami continued to make art, specifically printmaking, and also dedicated time to religious service. She had two solo exhibitions in 1935 and 1937.

Death Ogunjami's date and place of death are unknown; correspondence ceased between her and the Harmon Foundation after 1941. One hint as to her disappearance from records and from correspondence is included in a letter, dated 1960, from Krio modern artist Miranda Burney-Nicol to Evelyn S. Brown, associate director of the Harmon Foundation, which states Burney-Nicol's belief that Ogunjami returned to Jamaica and was thought to be dead.