Horned Ancestor Figure — Baga or Nalu, Guinea (Mid-20th Century) This powerful carved figure likely originates from the Baga or Nalu peoples of coastal Guinea. The crescent-shaped horns reference ancestral and spiritual authority, often linked to initiation or fertility rituals. The piece's geometric proportions and weathered patina make it a striking artifact of mid-century West African ceremonial art.
Two weeks ago, Tim Sugden, former co-publisher and photographer of Portland Interview magazine, reached out to me after seeing some of my interior design posts focusing on designing for men. He asked if I might want to meet Dave Dahl—the founder of Dave’s Killer Bread—and tour his collection of African art, which could work well for my clients. Of course I knew who Dave was and loved Dave's Killer Bread but I hadn't read the full story about Dave until after this meeting. After our meeting, I picked up the magazine Dave had signed (one for me, one for my boys) and I couldn't put it down. I read the full 20-page interview and knew afterwards, that I was meant to meet Dave at this time. More on that later. First let's get into one of the most jaw-dropping private collections of African tribal art I’ve ever seen.
When I arrived, Tim greeted me and led me to the warehouse where Dave was tidying his collection. Dave greeted me with kindness and an easy authenticity as I stepped into his sanctuary of sculptures, tapestries and carvings. The 14,000 square foot warehouse is packed floor to ceiling with masks, statues, ritual objects, and carved relics from across the African continent. I could feel the strong energy these objects held full of so many ancestral memories.
I slowly moved through the space—feeling the powerful energy of so many ancestral memories—while Tim and Dave patiently spent the next three hours walking through the collection with me. Dave was in and out of the warehouse taking phone calls and attending to his granddaughters and their friends who were swimming in the pool that had been setup for them on the large country property in Eagle Creek, Oregon (a place near my hometown, like Dave, I grew up in rural Oregon).
Dave and I surrounded my his masterful art collection.
As Dave shared with me details on the artwork origins and meanings, it was clear that he'd taken a ton of care to organize this massive collection. When I asked if he'd been to these areas, he said with some heaviness, that he hasn't yet, though he’d like to and plans to when some of his legal constraints are lifted. Pointing out pieces from Mali, Burkina Faso, the Ivory Coast, Liberia and Bali he shared that these are places were once not separated by borders, but only by tribe. This artwork was made during those tribal times. He pointed out pieces from the Dogon people and explained that they were known for their intricate grain storage and he'd worked with them during the DKB days. He shared fragments of knowledge with the caveat that he’s still learning.
What struck me most was how naturally this collection speaks to the kind of masculine interiors I’ve recently been drawn to focus on with my work—spaces that are textured, storied, and quietly powerful, and design that speaks to the soul.
These pieces aren’t just art. They’re anchors. They root a space in something older, deeper. They create presence.
Below are some of my favorite pieces from the visit with notes on their regions and history.
Ceremonial Masks – Punu (Gabon) & Igbo (Nigeria), Mid-20th Century The mask on the left, with its delicate pink hues and refined features, is a classic Punu ancestor mask from Gabon, traditionally worn to honor female spirits during rites of passage. On the right, a joyful Agbogho Mmuo mask from the Igbo people of Nigeria celebrates youthful feminine beauty, typically danced by men in festive seasonal ceremonies. Both pieces reflect the grace, spirituality, and artistry embedded in West African masking traditions.
If you haven't read much about Dave, I encourage you to read his story in Portland Interview magazine (2018 edition). For me, it resonated deeply. I grew up with a family I wasn't always proud of being a part of - we didn't have a lot of money and we were the only branch of family that had moved to Oregon. My parents grew up in Oklahoma and all the relatives were still there. When we'd take the long family road trip each summer from Oregon to Oklahoma I always felt embarrassed and shy around my mom's family. They had nice houses and social grace that I'd never learned from my hippie parents.
Dave's story and his ability to transform and grow from a long road that stemmed from struggles with childhood trauma, mental health and the adversity that our society can bring, touched me. I've witnessed with an aching heart some of these struggles with my own boys as they grow and currently work through their teen years. I've witnessed these struggles within myself. When someone like Dave succeeds from that type of adversity through humility and kindness, and then has the ability to share his full story with such honesty, it brings us all hope.
(Clockwise from left): Benin Court Figure (Edo People, Nigeria) This striking bronze sculpture hails from the royal artistic tradition of the Benin Kingdom in southern Nigeria. Depicting a high-ranking court official or ceremonial musician. Slave Boat Sculpture Portrays the brutal reality of the transatlantic slave trade, likely referencing the Portuguese invasion of West Africa. Royal Beaded Figure – Kuba People, Democratic Republic of Congo Draped in intricate beadwork and cowrie shells, this regal effigy represents a Kuba king or ancestral figure, embodying prestige, wealth, and spiritual protection. The Kuba are renowned for their elaborate ceremonial regalia, and this piece—with its geometric patterns, shell adornment, and facial veiling—was likely used in royal funerary rites or masked court performances to honor lineage and reinforce dynastic authority.
As I continued on the journey through art, I noticed the tender way Dave handled these pieces. I could see how he felt called to protect these pieces. Dave doesn’t see himself as an expert. He’s a steward. A man still healing. A man who’s walked through fire—and is still walking. As I left the warehouse that day, I thought about how brokenness and beauty coexist. And how spaces—like people—can hold both.
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Nature's Symphony
Breathtaking colors of our planetButton -
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Faces of Humanity
Portraits of people from around the globeButton -
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Beyond Boundaries
Visual odyssey across continentsButton
Sands of Time
My deepest thanks to Dave for his vulnerability, and to Tim for reaching out to me and making this introduction! These pieces are for sale, and Dave is beginning to explore how to re-home them with collectors, designers, and lovers of tribal art. If you’re interested, please free to reach out—I would be happy to make an introduction and/or work with you on which ones would work well in your space!
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At EPIPHANY, we specialize in creating refined, art-inspired interiors for those who want their homes to feel good, function well and look beautiful. Whether you’re upgrading a loft or styling a full residence, we tailor each space to you.