Born in St. Louis, MO  (1970). Lives and works in Lagos, Nigeria.


Wura-Natasha Ogunji is a visual artist and performer. Her works include drawings hand-
stitched into tracing paper, videos and public performances. Her work is deeply inspired by
the daily interactions and frequencies that occur in the city of Lagos, Nigeria, from the epic
to the intimate. Ogunji's performances explore the presence of women in public space; these often include investigations of labor, leisure, freedom and frivolity.


Recent exhibitions include the Stellenbosch Triennial’s Tomorrow There Will Be More of Us; Alpha Crucis at Astrup Fearnley Museet, Oslo; and A stranger’s soul is a deep well at Fridman Gallery, New York. She was an Artist-Curator for the 33 rd São Paulo Bienal where her large-scale performance Days of Being Free premiered. She has also exhibited at: the inaugural Lagos Biennial; Kochi-Muziris Biennale; 1-54 London and New York; Seattle Art Museum; Brooklyn Art Museum; and Louisiana Museum of Modern Art, Denmark. Ogunji is a recipient of the Guggenheim Foundation Fellowship and has received grants from The Pollock-Krasner Foundation; The Dallas Museum of Art; and the Idea Fund. She has a BA from Stanford University [1992, Anthropology] and an MFA from San Jose State University [1998, Photography]. She currently resides in Lagos where she is founder/curator of the
experimental art space The Treehouse.


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Interview with Richard Bright


March 2020


just a note; artist to artist

BOMB Magazine

August 23, 2019


The Treehouse Lagos

Something We Africans Got

December 3, 2018


Interview with Theresa Sigmund in conjunction with the exhibition, Every Mask I Ever Loved

Contemporary And

October 30, 2017


Nigerian-American artist Wura-Natasha Ogunji stops traffic with Strut – her latest performance in Lagos


June 25, 2016

Paper as Body

The Offing

January 19, 2016


If I Don’t Show It, Nobody Will

Contemporary And

May 13, 2015


you are so loved and lovely catalog

Published on the occasion of ruby onyinyechi amanze's and Wura-Natasha Ogunji's exhibition, this illustrated catalog includes an introductory essay by Emmanuel Iduma and excerpts from Drawing Memoir – a collection of the artists' written correspondences that chronicle the questions, quandaries, experiments and discoveries made in their studios and beyond.


Wura-Natasha Ogunji: Reclaiming the Female Voice through Public Performance

Ogunji discusses her work as a performance artist in Lagos and her film, Will I still carry water when I am a dead woman? (2013). 

Video courtesy of Design Indaba.