Orí Inú takes from the Yoruba Metaphysical conception “Orí’ which translates to the head and refers to one's spiritual destiny. Using the calabash as a metaphor, Orí Inú depicts the artist’s attempts to mend the break between her mind and spirit. It thereby demonstrates how reconnecting with one's inner spirit is both a continuous endeavour and a condition of the human experience.

The project is also an inquiry into the history of photography and its paradoxical attachment to truth and time. By using optical illusions and tricks, Orí Inú questions the camera's historic association as a vessel of truth, which challenges colonial understandings of the black body. Stimulated by this history and considering photographs as haptic objects, a series of photographic bronze comb sculptures (Iyarun) work in conversation with the photographic prints. This is informed by the comb’s relationship with African diasporan histories, where it surpasses functionality to become a cultural symbol of empowerment, ritual and self-care.