A male Lobi sculpture, Ghana, colected close to Wa, standing on blockshaped feet, coffeebean eyes. Lobi sculpture belongs to the artistic and spiritual traditions of the Lobi people, who live primarily in parts of present-day Burkina Faso, as well as neighboring regions of Ghana and Côte d’Ivoire. These sculptures are most often carved in wood and are closely tied to religious practice, functioning as objects of devotion, protection, and communication with the spiritual world. Rather than being created for display, Lobi figures are embedded in everyday life, occupying shrines within family compounds and serving as active participants in spiritual relationships. Central to Lobi sculpture is the concept of the thil, a spiritual force or intermediary that connects humans with the divine realm. Sculpted figures, often referred to as bateba, are commissioned to house or represent these forces. Each figure is created in response to specific instructions from a diviner, ensuring that its form corresponds to the needs of the individual or family who owns it. As a result, Lobi sculptures display a wide range of forms, from standing human figures to more abstract or hybrid shapes, all unified by their purpose rather than a fixed stylistic canon. The visual qualities of Lobi sculpture are striking in their directness and variability. Figures may appear elongated, with rigid postures and simplified anatomical features, or more compact and geometric in form. Some convey a sense of tension or alertness, while others seem calm and watchful. This diversity reflects the individuality of the spiritual forces they embody, as well as the personal circumstances surrounding their creation. Despite this variation, the sculptures often possess a strong frontal orientation and an emphasis on presence, as if they are actively observing and engaging with their surroundings. Lobi sculptures are not static objects but are continually activated through ritual use. They are placed in shrines, where offerings such as libations or sacrificial materials may be applied, gradually building layers of encrusted surface. These accumulations are meaningful, marking the history of interactions between humans and the spiritual realm. Over time, the sculpture becomes a record of devotion and a focal point of spiritual power, its significance deepening with continued use. In the broader context of African art, Lobi sculpture challenges conventional distinctions between art, religion, and daily life. Its forms are inseparable from function, and its meanings are rooted in lived experience rather than purely visual criteria. Today, Lobi works are held in collections around the world and are studied for both their aesthetic qualities and their cultural significance. While their presence in museums can distance them from their original contexts, they continue to offer insight into a worldview in which sculpture is not simply representational but profoundly relational, mediating between visible and invisible worlds. References Daniela Bognolo, Lobi Christopher D. Roy, The Lobi of Burkina Faso Julien Bosc, “Les sculpteurs et leurs génies” Hans Himmelheber, “Figuren und Schnitztechnik bei den Lobi” Klaus Schneider, Handwerk und materielle Kultur der Lobi in Burkina Faso Metropolitan Museum of Art, Arts of Africa collection catalogues CAB42676