When I speak with Taiye, what stands out is how certain she is. She’s not trying to reinvent things; instead, she goes deeper into what already exists. Her work moves through stories of women, ancestry, and the idea of home. Hair becomes central to her visual language — a place where memory lives, identity settles, and ancestors continue to exist. Her ideas unfold slowly, circling back and reappearing in different forms, much like memory itself. She speaks about rethinking rather than reinventing, and this approach is reflected in works such as Wade in the Water, where women float in oceans of hair, suspended somewhere between past and present. These images carry a sense of lineage and movement, as though we move through life carrying our ancestors with us. The sea becomes a space of both journey and remembrance, holding multiple histories at once. In Owa — meaning “home” in Benin — she turns this exploration inward, using photographs of her family’s house to question what home means when belonging is neither simple nor permanent. The work feels intimate and tender, like watching an artist trace her roots while understanding that home exists as much in feeling as in geography. Through screen printing, fabric, and stitching, Taiye continues to expand her visual vocabulary without losing the certainty at the core of her practice. For her, these materials are not about transformation but discovery. Her work carries truths about care, strength, and continuity across boundaries, reflecting her belief that “women are women everywhere.” What makes Taiye’s work so compelling is that it never lectures or tries to impose meaning. Instead, she creates space for viewers to bring their own memories and connections, reminding us that stories about women and belonging are never finished — they continue to unfold through all of us.