The artistic career of Susanne Wenger, born in Graz in 1915, began in Austrian academies and culminated in a decades-long stewardship of the Osun Osogbo Sacred Grove in Nigeria. A multifaceted creator who worked in painting, sculpture, and printmaking, she eventually integrated her European technical training with the spiritual and aesthetic framework of the Yoruba religion.
European Training and Early Career
Wenger began her formal education at the School of Applied Arts in Graz in 1930, focusing on pottery. She continued at the Higher Graphical Federal Education and Research Institute and later at the Academy of Fine Arts Vienna, where she studied under Herbert Boeckl. During this time, she mastered fresco techniques and drawing. Following World War II, she contributed illustrations to the communist periodical Unsere Zeitung and co-founded the Vienna Art Club in 1947. Her early output featured experimental, surrealist imagery influenced by spirituality.
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In 1949, Wenger moved to Paris, where she met the linguist Ulli Beier. The pair married in London and emigrated to Nigeria, where Beier took a position at a college in Ibadan. They subsequently moved to the village of Ede. Following a recovery from tuberculosis, Wenger became deeply involved in Yoruba culture and religion, forming a close bond with Ajagemo, a priest of Obatala. This period marked a transition in her creative focus as she began incorporating adire textile techniques into her designs.
The New Sacred Art Movement
After living in Ede and Ilobu, Wenger settled in Osogbo in 1961. She collaborated with local artists to revitalize shrines dedicated to the river goddess Oshun and other Orishas, utilizing wood and cement to create monumental sculptures. Her "New Sacred Art" movement bridged the gap between ancient mythological depictions and contemporary social observations. Her efforts proved critical in the preservation of the Osun Grove, which gained recognition as a national monument in 1965 and was later designated a UNESCO World Heritage Site.
Later Life and Recognition
Wenger held the chieftaincy title of Adunni Olorisha and was a member of the Order of the Federal Republic of Nigeria. She resided in a three-storey house in Osogbo, which functioned as both a living space and an extension of her aesthetic vision. Throughout her final decades, her work was showcased in multiple retrospectives, including exhibitions in Krems, Graz, and Atlanta. She died in Osogbo on 12 January 2009 at the age of 93.
Fast facts
- Born: 1915, Graz, Austria
- Died: 12 January 2009, Osogbo, Nigeria
- Notable Title: Adunni Olorisha
- Major Project: Osun Osogbo Sacred Grove
- Citizenship: Austria; Switzerland
- Awards: Grand Gold Decoration of Styria
- National Honour: Member of the Order of the Federal Republic
Questions readers ask
What was the significance of the Osun Grove project?
Wenger collaborated with local artists to restore shrines and sculptures, successfully preventing their destruction by termites and commercial interests.
How did Wenger transition from European art to Yoruba-influenced work?
After moving to Nigeria and recovering from tuberculosis, she formed a bond with a local priest, which led to her deep involvement in Yoruba religion and art.
