women artists building bridges between cultures

This work is a self-portrait of the artist in what appears to be the inner courtyard or garden of a house. It is a centrepiece of the exhibition, as in it Tegene demonstrates her technical expertise in engraving and her absolute mastery of the interplay of light and shadow.

This work depicts human heads—likely Makonde, as indicated by their scarification-tattoos—arranged according to a three-tiered hierarchy. The question viewers might ask themselves is: Who is at the bottom and who is at the top of this hierarchy?

The artist wanted to present a metaphor for the fact that human beings are constantly evolving, unfinished beings.

A hand clutching a foot. If we assume that the feet and legs convey as much as the eyes and face in a portrait, this gesture would be a distress signal from the person depicted.

The work employs a very distinctive technique that Akplogan explored during his residency at the Villa Alsacienne in Paris: the cardboard is scratched to reveal its fibers. This relationship with the medium is similar to our relationship with our own skin. Here, the artist has depicted a resting pose with the hands wrapped around the ankles.

Photography in collaboration with Heidi Ramírez. The artwork is accompanied by a tale from Ivonne González Núñez authorship.

Depending on where the viewer stands, this ceramic piece can be seen as either the back of a human figure or the shape of a « cemí »—sculptures believed to house the spirit of a Taíno ancestor.

Laura Arminda Kingsley reimagines the mythological scene of the Three Graces using deities from Abya Yala and Africa.

Photography of the sculpture Lyra Akissi Ouattara taken by the photographer Ianne Kenfack Kitio. Both of them were in an artist residency at Abidjan.

This vertical painting is a self-portrait by Bianca Batlle-Nguema. The shadow cast by the drape on the right-hand side of the work is the part with which the artist is most satisfied.