By Ahmed Salami
In recent days, a controversy has emerged regarding the 2020 Steady Strides exhibition in Ekiti State, with claims suggesting that former First Lady Erelu Bisi Fayemi withheld payment for certain artworks she had selected.
Having known Erelu Bisi Fayemi personally, I feel compelled to set the record straight. The allegations circulating in some quarters do not reflect the truth, and they starkly contradict the character of the woman I have come to admire and respect deeply.
Erelu Bisi Fayemi is a woman of impeccable integrity. To suggest that she would deliberately act to deny artists their due compensation is not only false but entirely inconsistent with everything those who know her would attest to.
She has always been a champion of fairness, respect, and justice, whether in public office or private engagements. Her track record speaks volumes about her character: a woman who leads by example, guided by principle, and committed to doing what is right even when no one is watching.
What strikes me most about Erelu Bisi Fayemi is her extraordinary heart. She is a woman of compassion and generosity, genuinely invested in the well-being and success of others. Artists, community members, and colleagues alike have all benefited from her encouragement, mentorship, and support.
Her commitment to promoting arts and culture in Ekiti State is longstanding and well-documented, and she has consistently worked to create platforms where creativity can thrive and be recognized. These actions are not the deeds of someone who would knowingly cause harm to artists or fail to honor her commitments.
It is also critical to note that the controversy is not a reflection of her intentions or actions but rather an issue rooted in administrative processes. The 2020 Steady Strides exhibition was organized by the Ekiti State Ministry of Arts and Culture, in collaboration with the Society of Ekiti Contemporary Artists (SOECA). While Erelu Bisi Fayemi personally selected artworks she intended to purchase, standard procedure required that the Ministry and exhibition organisers handle the documentation, valuation, and payment processes. She acted in good faith, trusting the responsible authorities to carry out these functions.
Erelu Bisi Fayemi herself has affirmed that she left the artworks in the care of the organisers and ministry officials, fully expecting that payment arrangements would be made. At no point did she take possession of the artworks without payment, and at no time was she made aware of any problem for two years following the exhibition. This is a clear testament to her honesty and her adherence to proper protocol. The administrative lapses and miscommunications that may have occurred are the responsibility of the officials handling the exhibition, not of Erelu Bisi Fayemi.
Moreover, she has always demonstrated a willingness to resolve issues amicably and fairly. Reports indicate that she was ready to pay immediately upon being informed of the artworks’ status a gesture that reflects her integrity, accountability, and genuine care for artists. To question her character or suggest malicious intent is, therefore, completely unfounded.
Beyond her professional ethics, Erelu Bisi Fayemi embodies qualities that inspire admiration and respect. She is principled, compassionate, diligent, and courageous. She treats everyone she encounters with fairness and respect, regardless of their status or background. She consistently uplifts others and encourages growth and excellence. It is precisely these qualities that have earned her widespread admiration and enduring respect across Ekiti State and beyond.
It is also crucial to address the role of the media in shaping public perception in such situations. Headlines that are misleading, sensationalized, or designed primarily to attract views can cause real harm, not only to the individuals involved but to public understanding of events.
Responsible journalism requires accuracy, context, and fairness. In this case, the facts are clear: Erelu Bisi Fayemi acted in good faith, followed due process, and remained committed to the well-being of artists and the integrity of the exhibition. Any attempt to portray her otherwise misleads readers and unfairly tarnishes her reputation.
In defending her character, I also call on all who know her to remember the countless positive impacts she has made in arts, culture, and public service. She has dedicated herself to nurturing talent, supporting creative expression, and fostering community development. Her actions have consistently been guided by honesty, compassion, and a deep sense of duty. To those who have had the privilege of working with her, there is no question of her integrity or commitment to justice and fairness.
In conclusion, Erelu Bisi Fayemi is a woman whose integrity is beyond question. She is generous, compassionate, principled, and committed to uplifting others. The current controversy is not about her character or actions, but about administrative lapses that fall squarely on the shoulders of officials responsible for managing the exhibition. It is a disservice to her, and to the public, to suggest otherwise.
The media and all stakeholders must exercise care in presenting facts, avoiding sensationalism, and ensuring that the truth prevails. Erelu Bisi Fayemi is, and has always been, a woman of honor, a champion of the arts, and a remarkable human being whose character commands respect and admiration.
Ahmed Salami, a journalist and public affairs analyst, writes from Abuja
