Untitled (2014), by Portia Zvavahera

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if i look back, i am lost

Jimmy Eat World
Monterey Bay Aquarium
2025 on Tumblr: Trends That Defined the Year
official daine visual archive
I'd rather be in outer space 🛸
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Mike Driver

Origami Around
"I'm Dorothy Gale from Kansas"
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One Nice Bug Per Day
Sade Olutola
Sweet Seals For You, Always
occasionally subtle

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@theafricanaesthete
Untitled (2014), by Portia Zvavahera
Merikokeb Berhanu, ArtLabAfrica profile
Merikokeb Berhanu, born in 1977, is a contemporary artist living and working in Addis Ababa, Ethiopia. Drawn to painting from an early age, she attended the University of Fine Arts and Design in Addis from which she graduated in 2002. She has since set up the Nubia Studio with a group of fellow artists, a dynamic cultural centre and studio space in the heart of Addis Ababa that has been instrumental in supporting and promoting contemporary art practices in the Ethiopian capital.
Whilst deeply rooted in the strong tradition of painting that informs much of the current art teaching in her native country, Berhanu’s practice transcends the easily recognizable figurative “Ethiopian style” brought about by the country’s long artistic, cultural and political isolation.
In her paintings, abstract forms and dense backgrounds intertwine with reoccurring recognizable elements, ripened fruit, blooming flowers and stylised human forms. Inspired by everything that surrounds her as well as delving deep into her emotional state, her works explore a rich imagery that draws on aspects of every day life. Elements from contemporary urban life – aged constructions of corrugated iron sheets, masked sweepers, ghostlike silhouettes – blend with the fabric and landscape of the countryside, highlighting the ever present tension brought about by rapid urbanisation. Often informed by her dreams, whose vividness is enhanced by the rich, saturated colours in her canvases, her practice explores an intensely private world rendered with abstract, tight compositions whose elements are pushed to the front of the picture plane.
“I have never tried to communicate my paintings with words; I am always after the forms, lines and arrangement that can express the visual equivalent of my feelings and thoughts. I want the viewers of my work to ‘hear’ what the images have to say through their own power. Sensation can be experienced through elements of art. The life that we are passing through, light, line, the complexity and density of what surrounds us, the thick fog and smoke, happiness and hope, misery and bliss, all elements push me to think and paint. And let my perception be crystallised through visual elements as a form of language.”
Berhanu has travelled and exhibited extensively in Ethiopia, Germany, France, Uganda, Sudan and Djibouti.
A little girl hears for the first time the Muslim call to prayer.
“that’s a good one” this makes me happy
Nneka - New African Woman April/May 2015
photos Dami Oyetade
hair Adeola Olaosebikan
Kenya’s Samburu Warriors.
by Dirk Rees on FeatureShoot
Andre 3000 & Kelis x David LaChapelle / The Face (2003)
Wow this is awesome
West Africa’s 10 Best Contemporary Art Galleries
We discover more about the top ten contemporary art galleries in West Africa, moving from the Senegal to Nigeria. »
Visit the Nubuke Foundation :)
"I, with a deeper instinct…Choose a •{King}• who compels my strength…Who makes enormous demands on me…Who does not doubt my courage or my toughness…Who does not believe me naive or innocent…Who has the courage to treat me like a •{Queen}•"…Namaste Anais Nin
#LegalLovers #SpiritualCeremonialSituation #Guatemala (at Antigua Guatemala.)
Felabration
- by Emmanuel Ogabi
In light of Tanzania’s recent policy change regarding language and education in the country’s public schools, couldn’t help but recall this conversation on BBC’s HARDTalk in 2013 where Kenyan writer Ngũgĩ wa Thiong’o discussed the relationship between language and colonisation.
Thiong’o discusses the problematic elements of colonial languages and the hierarchical tendencies, and power dynamics, they encourage in countries that, through colonization, have adopted them as their lingua franca.
Wa Thiong’o firmly states that, “English is not an African language, period”, and that in using English as a default tongue, we are simply contributing to the expansion of this dangerous form of cultural suppression, still submitting to the hierarchy of colonial languages.
HARDTAlk host Gavin Esler notes that his form of decolonizing African minds and tongues is in stark contrast to writers like Chimamanda Ngozi Adichie who says that, “English is mine, I have taken ownership of English”.
Wa Thiong’o then goes on to say that claims made in the same vein of Adichie are related to the ‘metaphysical empire’, a sort of abstract reclaiming of ones own identity in relation to history and the power dynamics of language in the world, as opposed to penetrating the systematic structures of language as a tool of oppression.
I must agree with the stress Wa Thiong’o puts on first writing in ones mother tongue, and then translating it into other languages, as not only does it promote the importance of African languages, it also creates and stressed a need for not only Africans but people around the world to pay attention to African languages, perhaps learning them in the process, countering the idea that writing in African languages somehow limits the reach of ones work.
It’s a cultural shift that won’t happen overnight, but a transition that is very necessary and ultimately holds a great deal of weight in global cultural power systems and structures.
Related post.
An earlier version of this post was published a year ago.
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Tony Gum imagined a ‘Black Coca-Cola’ campaign:
In Ghana, the display of gold at the Ashanti king’s jubilee in 1995 was unsurpassed in splendor. This Adioukrou Queen Mother, attending the jubilee, indicates her status by wearing gold turtle & crocodile talismans in her hair. Magnificently bedecked in gold jewelry & wearing gold dust makeup, she exhibits her husband’s substantial authority & worth.
Source
Lagos Rising - Profiling Lagos’s best dressed fashionistas by Style.com
Photographic book ‘Parures africaines’ by Denise Paulme and Jacques Brosse, ed. Hachette, 1956
( Site delcampe - Flickr)
Guardians of life: The indigenous women fighting oil exploitation in the Amazon
Felipe Jacome’s set of photos Amazon: Guardians of Life documents the struggles of indigenous women defending the Ecuadoran Amazon through portraits combined with the powerful written testimonies. The words across each photograph are a self-reflection of the lives of women, their culture, history and traditions, and especially about the reasons for fighting oil drilling on their ancestral lands. The color designs framing each portrait use the same natural dyes found in face paint to expand on the symbols and designs that reflect their personalities, courage and struggle. (via)