Man's increasing proficiency in using the world is often accompanied by a reduction in humanity.

Holy Rollers is a series of sculptures that reflect the transitory nature of being. It confronts us with our ideas on vulnerability, mortality and humanity. The series is rooted in the work of the alchemists and their interest in the process of transformation in search of perfection of the human body and soul.

In Holy Rollers, cloudy, muddy parts of the epoxy figures are alternated by transparent pieces. As time passes, the transparency will grow. The amorphous sculptures They are going through a metamorphosis, just as we are. A part of us might have passed, but will return in a different shape and form.


Sadness and consolation are never far apart, on the contrary, they are two sides of the same coin. This duality is also part of the unconditional love between my parents and the bond I now share with my mother. 

Bebele Zamba occupies a space that is ‘in-between’. The six life-size sculptures and 91 portraits - made from various found materials such as metal, epoxy, ritual objects, hair and embroidery - are mediators between that which can be seen and that which cannot be seen, but can be felt.  


Echo was presented at the Dakar Biennale as part of the presentation ‘Forger / Out of the Fire’ from May 19 - June 21 2022. The projects Echo: Homo Fabricius and Echo: Double Trilogy were part of the installation.

For many centuries we - Africans and Europeans - have been aware of each other’s existence. Our different rhythms and patterns have met many times. These traces and legacies show us that these histories are never far away, that they are part of all our lives and not only of those of the ‘other’.  I invite the viewer to experience the works not only from the front, but to also see what is behind. 


The project 1525 was presented at the Van Abbemuseum in Eindhoven, The Netherlands and comprised a 25 metre high installation with 152 unique works - the series 152, which could be seen from both sides -, six films and fifty two prints.

The exhibition title is a play on the number 152. A single five is added: one of the first transatlantic transports of enslaved people took place in 1525.


The idea behind this work lies in giving objects a second lease on life, by transforming and converting them into something else. For Adieu l’enfance, I took religious bronze objects and transformed them into different objects, such as a chair, a vase, a ladder and a dromedary. Traces of the holy remain, but assume a different meaning in this altered, earthly context.  

The series consists of 13 works, as a reference to the 13 apostles.  


An icon shines light through which others can be seen. 

Used screen-prints were used as the basis for these works. In Hidden Icons - which takes the icon out of its religious context - I portrayed women I came across on the street.

Silhouette cut-outs from paper formed the starting point for an outline of delicate embroidery highlighting their faces and intricate braided hairstyles.


In Future Nostalgia, a series of aged industrial elements articulate the standard components of a regular vehicle. As such, the handlebars, seat, and frame have been recreated by hammers, rakes, pliers, and springs. Each component has its own distinct history, with multiple forms of deterioration such as rust and scrapes randomly dispersed throughout their surfaces in ode to their previous functions.