If we’re happy in our dreams, does that count?

Steloolive ein work be sound installation wey be invitation go dream; for deep talks then for performance. E go use the sound make the audience demma mind create dream wey dey heal. For this installation inside, you go commot your shoes, walk through water, then sit-don. Them go tell you sey make you relax then wear sleep mask. Then you go listen sounds them record wey dey activate dreamscape for your mind inside, so sey you go fit connect with the city ein memory. The title of the installation be “Story Clouds” sekof the inspiration dey commot from the idea of some fictional Accra wey be hyperresponsive to ein waterscapes. Steloolive dey try reconcile that idea to the city ein soundscapes as e dey wake, burgeoning landscapes then architectural forms.

He dey extend this reconciliation go Stuttgart plus a performance. Through ein performance, e go create way make the two cities connect.

“See the World as Your Own Image” be collaborative installation of Fatric Bewong then Nii Noi Nortey demma demma works. The works dey experiment plus space, wey the artists dey invite the audience members into “the [fictional] sacred world of children”. Ebi chamber-world wey get more places you go fit take commot. 

For this world inside, the walls be soft wey them cover am plus kiddies demma scribbles. The kiddies dey commot from Accra then Stuttgart, wey them chop between 2-7 years. For this world inside, demma scribbles dey mean something waa. Them elevate ein status make e check like ancient markings for wall top. For the space inside, them go use sound installation take activate the place. Them go play sounds of animals wey them record or them imitate. Them also go play experimental music wey dey combine Nortey ein adaptation of wind then string instruments (Afrifons), Ngoni, then bass harps plus plastic water bottles then sachets, hose pipes then straws wey dey commot from top dey fall for ground. 

“Rumours Untitled” be two-part installation of Eric Gyamfi ein works. Them present the first part as Pantone Classic Blue table 3.60m long. For this table them install 40 photographic glass plates. Them develop the glass plates plus pigment them extract from teak trees for Accra then other plant pigments them get from Stuttgart. 
The glass plates dey commot from the table top like trees them arrange jɛjɛ.
Them also add film wey dey document the chemical convergences wey produce the plates for the table top. The table dey allow make the audience fit experience the plates then film from different viewing points inside the ifa-galerie.

The second part be inkjet print wey them develop from one of the plates ein pictures. This second part be installed near the table. Sekof the glass ein frosted surface no, if you cot picture of the image wey dey commot from am, you go see sey e be very pixelated. E check like pictures wey them produce am digitally, even though the picture actually dey commot from analogue-chemical process. The exhibition ein two parts dey form one map of distant imaginary lands, this be how people go fit see am. 

Gyami ein interests dey in alternative photographic processes. E experiment plus cyanotypes before for open air inside as objects, insects then leaves go fall for sheet top then leave print. E also experiment plus anthotypes, another photographic process wey dey utilise plant then flower pigments.

The work dey take excerpts of printed research nonfiction document wey dey cover interviews, observations then personal experiences. E dey transform the document into something wey no-bro go fit read sekof meaning no dey. This work dey complicate fact then fiction. The work get cotton then paper sheets wey them sew-sew words we no go fit read for top plus thread. Readers then viewers for go round the sheets so sey them fit experience am in different ways, whether them go do am alone or plus somebro. 

Ebi twine wey dey hold up the pages of text. The work dey try show individual then communal reading. Sekof fans dey, wey colours-colours lights too dey, the viewers for dey move as them dey try read what e dey the pages top. This go make e check like sey them dey dance as them dey read so sey e go look like sey them dey read plus demma eyes then demma body. Them add sound to the work so rydee the work no be visuals pɛ, ebi audio-visual.

“GLITCH: It’s 2022, You Are [back] in a Womb” be speculative installation that dey reimagine life for womb inside. This be part of Nyahan ein larger body of work. The title of that body of work be Existential Bodies. This project be multimedia presentation of the artist ein preoccupation plus objects then beings that dey trigger wona thoughts on the past, present then future of wona bodies. What wona existence dey mean? What wona existence dey mean if we dey talk about these objects? She dey use womb like sey ebi point of departure into where we no know. She also dey encourage viewers sey make them playfully contemplate demma own realities then demma own selves.

The idea sey we dey inside womb but we no go fit remember am be someway. Everybody wey dey alive before commot from womb, but none of we dey fit talk about am sekof we no dey kai. This be paradox. For this piece inside, Nyahan dey play plus what life for the womb inside fit be like. What the environment check like? Wey sounds dey wey we hear?

Nyahan dey use audio, visuals then tactile sense take construct this semi-fictional environment. “GLITCH: It’s 2022, You Are [back] in a Womb” be recorded sounds from wombs then voiceovers wey them project from textile figures for the space inside. E dey juxtapose animations of pregnancy ultrasoudns then distorted images, plus sculptural objects wey them take found materials then textile do. E go make you feel like sey you for touch them. 

Nyahan dey think of more things throughout the piece. Trauma dey start for womb inside? Why sey sometimes wona thoughts of how we dey here dey feel disconnected? “Anytime I see objects of birth, I dey get some heavy feeling that dey question my existence. It fit be the feeling of death. I no sure, but I dey invite everybro make them engage that feeling, make them explore am, make them go crazy plus am then have fun with am.”