HOLY ROLLERS-TIME LANDSCAPE

Time Landscape is a living installation, reshaped by its surroundings. It exists simultaneously as monument and threshold — a space where memory folds into prophecy, and where the past continues to inhabit the present.The work enters into a symbiotic dialogue with a site that has long mediated between land and sea, power and endurance. Against this layered history, Time Landscape confronts inherited trauma alongside the visual excess of the site itself. Monumentality becomes both seduction and burden; beauty carries the traces of violence, memory settles into stone, and histories of power remain embedded within the spectacle of the place.The installation asks what happens when the past is not behind us, but remains materially present — shaping how we see, remember, and imagine what comes next.

Sunflower to Heaven [52 Apparitions]

“I would like to do portraits which would look like apparitions to people a century later.”In his final days, Vincent van Gogh wrote these words to his sister, describing his desire to move beyond photographic resemblance and capture something deeper: pure expression.More than a century later, mental health remains an urgent yet often invisible reality. Sunflower to Heaven [Apparitions] is my response to this tension: an exploration of emotions and experiences that are deeply felt, yet often unseen.Developed over the past year, the series draws from the colour palettes of three of Van Gogh’s works: Sunflowers (1888), The Starry Night (1889), and Portrait of Dr. Gachet (1890).Through portraiture, colour, and expression, I explore different emotional states — the good, the bad, and the ugly. The aim is not to depict mental health literally, but to make the invisible visible.Sunflower to Heaven [Apparitions] asks what a portrait can reveal when resemblance is no longer the goal, and expression becomes everything.

BÉBÉLÉ ZAMBA

“Ninety-four faces. Ninety-four presences.Each face is embroidered stitch by stitch, slowly taking shape in thread and fabric. Eyes, mouths, contours and expressions emerge from the surface, held together by hundreds of small gestures. They are portraits, but also encounters: each face asks to be looked at, and in looking, looks back.“In the beginning is relation,” writes Martin Buber in I and Thou. Bébélé Zamba inhabits this space between one face and another, between self and other.Together with the film, the portraits move between presence and absence, the visible and the unseen, what can be said and what can only be felt.

HIDDEN ICONS

An icon shines a light through which others can be seen.For Hidden Icons, used screen prints become the foundation for a new kind of icon. Removed from their religious context, they portray women I encountered on the street.The work questions what makes someone an icon — and who gets to be seen as one.

AFTER 7

The dead are among us — in the shade, in the water, and in the forest.Among the Bamiléké, my father’s tribe, this belief is rooted in the idea of human duality: body and mind exist as separate entities. The soul, residing in the skull, carries the immortality of the ancestor.Death, therefore, is not an ending. The dead remain part of the community — present in the landscape, in memory, and in everyday life.

ECHO

Echo was presented at the Dakar Biennale as part of Forger / Out of the Fire, held from May 19 to June 21, 2022.The installation brought together Echo: Homo Fabricius and Echo: Double Trilogy.

1525

Presented at the Van Abbemuseum in Eindhoven, 1525 transformed the museum’s vertical space with a 25-metre-high installation. Rising through the architecture, 152 comprised 152 unique works suspended at monumental scale and visible from both sides, confronting the viewer with an immense field of images.Six films and fifty-two prints extended this visual and spatial language throughout the surrounding space, turning the presentation into an immersive encounter with image, scale, movement, and repetition.

À DIEU L'ENFANCE

Traces of the holy remain, but take on new meaning in an earthly context.Adieu l’enfance gives discarded religious bronze objects a second life by transforming them into something entirely different: a chair, a vase, a ladder, a dromedary.The work explores how objects can shed their original meaning and take on new identities.

FUTURE NOSTALGIA

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.