A will to (Re)memory
(2025-2026)
“A will to (Re)memory)” is an on-going residency project in Ghana. It is a two-part international research-creation initiative exploring postcolonial archives, memory, and feminist artistic practices across the country.
The first phase took place in January 2025 at the Dikan Center in Accra, where I began an initial cycle of research on visual archives and West African photographic legacies.
The upcoming second phase, scheduled for early 2026, will expand this work in collaboration with the J.H. Nketia Archives at the University of Ghana (Accra) and the center of phography Nuku Studio (Tamale). This round will involve site visits, fieldwork, and collaborative exchanges with Ghanian artists and archivists, including Abena Osaah Asamoah and Peter Edem Kpodo.
The project will culminate in two exhibitions: the first in Tamale (Ghana), presented in partnership with Nuku Studio, and the second in Montréal (Canada), curated by Nigra Iuventa, in late 2026.
Both exhibitions aim to reflect on the intersections of personal and collective memory, informal archival practices, and queer diasporic narratives through a decolonial lens.
The first phase took place in January 2025 at the Dikan Center in Accra, where I began an initial cycle of research on visual archives and West African photographic legacies.
The upcoming second phase, scheduled for early 2026, will expand this work in collaboration with the J.H. Nketia Archives at the University of Ghana (Accra) and the center of phography Nuku Studio (Tamale). This round will involve site visits, fieldwork, and collaborative exchanges with Ghanian artists and archivists, including Abena Osaah Asamoah and Peter Edem Kpodo.
The project will culminate in two exhibitions: the first in Tamale (Ghana), presented in partnership with Nuku Studio, and the second in Montréal (Canada), curated by Nigra Iuventa, in late 2026.
Both exhibitions aim to reflect on the intersections of personal and collective memory, informal archival practices, and queer diasporic narratives through a decolonial lens.
Century old studio “Deo Gratias” - Jamestown, Accra (2025)
Based on a study and reflection on the notion of photographic archives and their representational and cultural impact in the context of West African independence, with this research creation project, I intend to create a series composed of paintings and installative works. The narrative framework of this series will be fictional but inspired by real events and significant places from the historical period surrounding Ghana’s independence.
This series will trace the story of an Black north american woman who immigrated alone to Ghana, in the Accra region, and her life journey during the period between 1955 and 1969.
The conceptual foundations of this project are rooted in the notion of biomythography, derived from Audre Lorde’s book Zami: A New Spelling of My Name (1982). This concept defines a literary composition style that weaves together the art of myth, epic storytelling, history, and biography.