Abstract: This paper explores objects of aesthetics in Yoruba culture from the artistic standpoint of Yusuf Grillo, with a view to explaining the creativity that underscores its rich cultural heritage. Objects of aesthetics in this culture are used as tools which seek a socio-cultural re-definition of the contemporary meaning of their heritage. The new path has gained expressive traction by exposing the object to some form of phenomenological possibilities in the area of vision in order to unmask the possibilities within the body of ‘Dasein’ of the cultural aesthetic object, a pointer to Yoruba modernity. This thinking figures the effort of Grillo in conceptualising and locating the meaning of ‘Dasein’ of the early Yoruba sculpture as a symbol that represents and interrogates Western metaphysics, using Yoruba sculpture as a thinking tool. Unarguably, it is the prerogative of the artist to use sculptural forms to symbolize the essence of Yoruba existential, which the geometrical structure of the Ibeji sculptures of Yoruba people seems to uphold as playing a vital role in the figurative reconstruction of the Yoruba belief system. These ideas are evident in the modernistic painting style of Grillo, re-enacted piquantly on canvas. Apparently, he adapted this form in his painting to express some metaphorical symbols of Yoruba culture by reconstruing the figuration into a critical dialectic discourse in modern painting, thereby exemplifying the concept of “being” in Yoruba and the interrogative world of matter. This paper interrogates how symbol affects and constructs meaning from both a phenomenological and philosophical perspectives in Grillo’s paintings and its relevance, as a window to understanding the modern Yoruba lifestyle. Keywords: Grillo, Modernism, Yoruba Culture, Sculptural form, Dasein