This unique Epa mask, carved for festival performance and attributed to Bámigbóyè, offers a more concentrated but no less authoritative expression of sculptural intent. Where multi-figure Epa compositions articulate power through narrative accumulation, this example achieves its force through singular emphasis. The mask is surmounted by a large white ram, whose presence dominates the composition both visually and symbolically.

The helmet mask at the base provides a stable and familiar foundation. Its facial features are reduced to essential elements: elongated, almond-shaped eyes set into a compact, cylindrical head and a big rectangular mouth opening. The surface bears traces of ritual wear - abrasions, pigment residues, and patina variation - that situate the object firmly within a history of use. Above the mask stands the ram, carved at a scale that commands immediate attention. The animal’s body is elongated and upright, its legs firmly planted on the domed crown of the helmet, establishing a clear vertical axis. The ram’s most striking feature is its large, deeply ribbed horns, which curve outward and backward in a controlled arc. Their rhythmic carving introduces both texture and movement, framing the head while echoing the broader sculptural concern with balance and counterbalance.

The pale, almost bleached surface of the ram contrasts markedly with the darker tones of the helmet below. This chromatic distinction is not merely aesthetic but structural: it visually separates realms, elevating the animal into a heightened symbolic register. The ram’s posture - alert yet contained - suggests strength held in reserve rather than aggression unleashed. Anatomical details are selectively rendered; musculature is implied through volume rather than explicit modeling, reinforcing the sense of composure and dignity. The cylindrical tail rising behind the animal subtly reinforces the composition’s upward thrust. It stabilizes the form while guiding the viewer’s eye from the mask to the elevated animal presence above. The negative space between the ram’s legs and torso is carefully managed, ensuring that the sculpture remains open and legible from multiple viewpoints. This mask stands as a compelling example of how Epa carving can articulate power through formal economy, and of Bamigboye’s capacity to calibrate scale, surface, and proportion with assured restraint.