Collection: Taiye Idahor at Africa Basel
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By: Idahor Taiye
women's histories, hair as a visual language, women's solidarity, emancipation
Taiye Idahor’s Wade in the Water and I See Women as Trees series engage in a profound dialogue about heritage, identity, and the interconnectedness of women’s histories. Through these works, Idahor transforms hair into a potent symbol that traverses themes of movement, rootedness, and self-discovery, inviting viewers to contemplate the enduring legacies of ancestry.
Be gracious on our journey (2025)
In the Wade in the water series, the women navigate an open yet uncertain expanse, reinforcing the idea of identity as a fluid, dynamic process.
Seek good not evil (2025)
Drawing from the spiritual hymn Wade in the water, the series evokes survival, freedom, and the pursuit of identity.
Day may be dark like night (2025)
In the Wade in the water series, women appear as floaters or swimmers in this sea of hair, their heads emerging as islands in an ocean of memory and ancestry.
Desires leading the way (2025)
In the Wade in the water series, the ambiguity of the women's directions reflects the ongoing search for belonging, home and self-definition.
Fortress (2025)
This series takes its name from the American gospel hymn Wade in the water, used, at the time of slavery, to tell slaves to escape through the water to avoid being tracked by the slavers' dogs.
Do not seek Bethel (2025)
"I see women as trees" series
The phrase "do not seek Bethel" appears in Amos 5:5 where the prophet Amos is urging the people of Israel to turn away from idolatrous practices and focus on worshipping God alone.
It will take us two (2025)
Two women standing on a terrace, looking out into the open fields and sky, their arms interlaced in solidarity.
As part of the "I see women as trees" series, this artwork talks of spiritual search, emancipation, and sisterhood.
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