This page is dedicated to the world of literary NFTs, where stories live beyond the page. This exclusive collection brings together visual art, ancestral figures, and the power of storytelling, inspired by my upcoming novel Dark Circles Under the Eyes. Each digital piece draws you into the characters, symbols, and emotional landscapes of the book , from Uzo’s fight for justice to the mystical presence of her grandmother’s chi, Ikenga-Nwanyi, and other memorable scenes woven into the novel.
Title: Come In, and Rest Collection: Otherworld
After a lifetime of struggle and exile, Uzo crosses into the world beyond, a place not of death, but rather of spirits and ancestral presence. Here, in the ancient glow of Nnene’s hut, she is welcomed by heated fire and the rhythm of peace. This painting captures the sacred moment when Nnene invites her in: “Come in, and rest.” And for the first time in what feels like centuries, Uzo sleeps, surrounded by gods and unearthly presence. This piece is part of the “Otherworld” collection: a series of narrative works that explore spiritual continuity and the collision between the physical and the metaphysical.
This piece is part of the “Otherworld” collection: a series of narrative works that explore spiritual continuity and the collision between the physical and the metaphysical.
Ikenga Nwanyi
Nnene’s Chi. The Spirit of Ten Mothers.
Ikenga Nwanyi is the ancestral chi of Uzo’s grandmother, Nnene, whose presence embodies a sacred legacy. Passed down through ten generations of women, each a pillar in the house of their foremothers, this effigy bears ten bracelets, one for each matriarch who carried her spirit.
And now, the mantle rests on Uzo, perhaps without her knowing.
Her form, with multiple faces, serpentine limbs, and divine emblems, intertwines ancestral grace with spiritual authority. She is at once protector and sovereign. A sacred presence carved in symbolism, holding spiritual power within her carriage.
This painting is part of the “Ancestral” Collection, a visual journey through heritage where ancestors are not only remembered but remain present, guiding the living.
Title: Greymoor: The Trial Was Never Hers Alone
A clash of flags. The red-black-green of Biafra. The green-white-green of Nigeria. Two nations: one remembered for its war-torn past; the other, for its fractured present, march in unity for Uzo, a Nigerian caregiver wrongfully sentenced for the death of her patient.
On the left, the crowd grieves. On the right, rage flares up: far-right extremists raise their placards and clubs in triumph (“They’re stealing our jobs”), a cry weaponized against migrants. Between them, Uzo is held by British officers. Her face, emptied but composed. Below her, another version of herself (wounded, barefoot, asleep…) lies in symbolic stillness. This is where justice ends, and truth begins to speak.
Tittle: A Nation on Fire
In this painting, flames consume the sky as Zulu, brother to Uzo (rises in a defiant leap…) amidst civil unrest. Around him, citizens scatter through burning streets, fleeing the very institutions meant to serve them; banks and hospitals now engulfed in smoke, symbols of a failed nation brought to its knees.
This moment sparks the guerrilla warfare that becomes the heartbeat of a revolution. Nigeria has descended into anarchy, and from the ashes, a resistance is born: a generation too young to forget, too enraged to retreat, and too brave to break. Zulu is not alone. He carries with him the wrath of a generation denied, and the hope of a people reclaiming their land.