The compositions found on Yoruba doors generally incorporate figures carved in low, even relief, arranged on registers, and placed laterally on a single plane. Although the figures, often projecting no more than a centimeter beyond their frames and contained within the overall thickness of the wood, are posed in various attitudes, they are usually frontal and always static.

In contrast to this model, Olowe carved figures that appear to break free of the background and project into space. His figures are carved in very high, uneven relief. Where the frame defines the outer limits of space in a typical Yoruba door, Olowe's figures often break their frames, thus giving them a three-dimensional quality when viewed from the front or in profile. As the profile of this door shows, Olowe's figures could project at an angle as much as 12 centimeters (5 in.) from the background.

While other Yoruba sculptors typically carved short, static figures in frontal poses, Olowe sculpted tall, animated figures-some of whose heads faced the viewer while their bodies were posed in profile with one leg crossing the other to suggest walking or dancing motions. Olowe further energized his compositions by carving opposing geometric patterns in relief and applying bold polychromy. Although only traces remain of the original vibrant colors, it is not difficult to imagine how stunning the original effect must have been.