Bisrat creates a dynamic tension, the quiet strength of her figures against the fierce energy of the background. It’s as if the figures are carrying forward despite everything, embodying a sense of endurance and transcendence. This juxtaposition, where the figures appear in harmony amidst chaos, captures the essence of survival and grace, showing us a pathway through the fire and inviting us to find our own strength in the face of life’s challenges.
For more than 10 years, africanah.org has covered contemporary African, African-American and Caribbean art in many ways. There appeared to be much interest in this. Africanah reached a large audience and many international authors contributed articles and interviews.
Financially and in terms of manpower, it was a challenge from the beginning to publish a new edition every month and to present current events on a daily basis.
As annoying and regrettable as we find this decision, we have decided to keep the website on the air and the archive with over 3,000 items accessible, but to discontinue the other activities.
Africanah.org
In the vibrant tapestry of West African art, the threads of sustainability, cultural preservation, and environmental advocacy are woven together, creating a powerful narrative that resonates far beyond the region’s borders. As the eco-art movement continues to gain momentum, it serves as a poignant reminder that art has the power to inspire, educate, and catalyze change – one brushstroke, one sculpture, and one repurposed material at a time.
The works are captured with flowing feminine impact. This emphasized femininity, playing with a dark hue of blue expresses and counters the traditional light and grandiose contexts that masculine depictions of the divine are depicted in the Western context.
Today, the National Gallery of Zimbabwe displays birds made of trash and platforms artists who revel in the rubbish heap. This is by no means a decline in sculptural quality, and I don’t intend to deprecate the curatorial work happening at NGZ either.