Between 1984 and 1988, Bruce Onobrakpeya explored the Sahelian Masquerade as a theme in his works. Focusing on cultures in the Sahelian region of Africa, these works were significant as a voice in addressing issues of environmental destruction in the region at the time. On Panel of 5, Onobrakpeya uses forms which draw inspiration from the Sahelian mask figurines he was into at the time to explore concepts rooted in Africa culture and heritage using the Urhobo language. From left to right, Oshare Mę Jevwe (I love my Husband) shows a beautiful and well decorated lady beneath. Above her are 3 uniformly dressed and rich looking young men, posing like suitors. The title emphasizes the loyalty and love (for their men) which is common among married women of that part of the country and Africa in general. Omote Kporovwe (Newly married bride) shows a young woman elegantly dressed with a veil, riding a donkey, probably on her way home after her wedding. A man dressed in a turban common among muslims can be seen riding a camel beneath heading west in the opposite direction and looks indifferent to the attractive, newly married young lady. This probably emphasizes the value and respect placed on marriage by different cultures in the continent. Adje Ewęnvwe Kpo (They are taking you home) uses various motifs portraying the head of a cow and its curved horns, skeletons and sitting human forms to depict probably a shrine of worship and sacrifice. Two pairs of men and women can be noticed in the middle of the panel hugging each other. The fourth panel – Igu Rube – portrays three giant warlords bearing sheathed swords each while the fifth panel, Eyame Jevwe (I love my wives) portrays a rather fierce looking face (of a man) beneath and two gorgeous, richly ornamented and adorned women above probably depicting polygamy as something synonymous with the elite/royal class of different African tribes and cultures.