Artists (A-Z)
Project Description
Asia Clarke
Asia Clarke is an Afro-Caribbean / Canadian Multidisciplinary Artist, Designer, Hairstylist and Consultant who centres sustainability and futures-thinking in her various practices. Living between Toronto and Accra, she is passionate about re-envisioning futures and helping communities, clients and brands to envision and actualize their creativity. With over 15 years of experience in the arts, international development and strategic foresight, she has worked on community economic empowerment and youth entrepreneurship projects in Canada, Dominica, Trinidad, eSwatini and Ghana.
Asia Clarke is an Afro-Caribbean / Canadian Multidisciplinary Artist, Designer, Hairstylist and Consultant who centres sustainability and futures-thinking in her various practices. Living between Toronto and Accra, she is passionate about re-envisioning futures and helping communities, clients and brands to envision and actualize their creativity. With over 15 years of experience in the arts, international development and strategic foresight, she has worked on community economic empowerment and youth entrepreneurship projects in Canada, Dominica, Trinidad, eSwatini and Ghana.
Ama’s Salon
Set in Ghana in the year 2056, the story follows Ama, a gifted hairstylist who secretly provides mental-health therapy using a makeshift MRI machine hidden within her salon. Each hairstyle she creates is intentionally designed to support her clients’ emotional and psychological well-being. As Ama braids intricate patterns woven with electrical feedback wires into her clients’ hair, she enables them to access and adjust their own brain activity, discreetly storing their neuro-data in a covert archive.
Her salon functions as a trusted sanctuary — a community safe space where women can store their deepest secrets, fears, and desires. But when a new wave of neuro-surveillance threatens to seize control of the last remaining haven for free thought, Ama’s Salon becomes a powerful symbol of resistance, a place where women can still think for themselves.
Exploring themes of identity, morality, healing, and technology, the hairstyles crafted in Ama’s Salon continue the long legacy of Black resilience expressed through hair.
Her salon functions as a trusted sanctuary — a community safe space where women can store their deepest secrets, fears, and desires. But when a new wave of neuro-surveillance threatens to seize control of the last remaining haven for free thought, Ama’s Salon becomes a powerful symbol of resistance, a place where women can still think for themselves.
Exploring themes of identity, morality, healing, and technology, the hairstyles crafted in Ama’s Salon continue the long legacy of Black resilience expressed through hair.
Diane Kaneza
For the past 15 years, Diane KANEZA has masterfully combined cinema, audiovisual communication, and journalism. Her passion for images drives her to tell compelling stories from her homeland. She graduated from the Master 2 Cinéma Documentaire de Création ( Université Gaston Berger de Saint louis - Sénégal) program and produced the film "Mon Identité", which encapsulates her expertise in the acuity of the documentary gaze and her ability to create from reality. “Mon identité” was shortlisted for the Trophées Francophones du cinéma in 2018, shown as the closing film at the Saint Louis documentary festival, and presented at the Etats Généraux du documentaire in Lussas. It was also screened at the Poitiers Film Festival, in the category " Quand le Cinéma s'indigne" with Amnesty International
For the past 15 years, Diane KANEZA has masterfully combined cinema, audiovisual communication, and journalism. Her passion for images drives her to tell compelling stories from her homeland. She graduated from the Master 2 Cinéma Documentaire de Création ( Université Gaston Berger de Saint louis - Sénégal) program and produced the film "Mon Identité", which encapsulates her expertise in the acuity of the documentary gaze and her ability to create from reality. “Mon identité” was shortlisted for the Trophées Francophones du cinéma in 2018, shown as the closing film at the Saint Louis documentary festival, and presented at the Etats Généraux du documentaire in Lussas. It was also screened at the Poitiers Film Festival, in the category " Quand le Cinéma s'indigne" with Amnesty International
ITONGO
Without land rights, women remain economically dependent on men, reinforcing gender inequalities. Since 2015, in the province of Muyinga in northern Burundi, new practices have been introduced in land certification. Men register their wives on land titles. This gives the women of this province financial autonomy, because they can now apply for a loan from a bank and open a business to ensure their financial independence. This practice is rarely popularised, whether among educated or rural women. ITONGO aims to highlight this approach, which shows that there are possible and promising ways of guaranteeing that women own the land they cultivate. The project takes the form of a 13-minute documentary focusing on two women from the Buhinyuza commune (Muyinga province) who, thanks to land certification, are now models of success in their communities.
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Fayo Said
Fayo Said is an interdisciplinary artist and artistic researcher from Amsterdam and Oromia (Ethiopia), working at the intersection of visual culture, archival practices, and African and Afro-diasporic memory. Her work centers on reclaiming and reactivating African archives—particularly from Oromia—through artistic research, exhibition-making, and cultural production.
Fayo Said is an interdisciplinary artist and artistic researcher from Amsterdam and Oromia (Ethiopia), working at the intersection of visual culture, archival practices, and African and Afro-diasporic memory. Her work centers on reclaiming and reactivating African archives—particularly from Oromia—through artistic research, exhibition-making, and cultural production.
Sacred (2025)
This project explores the concept of wayyuu, a moral and spiritual framework central to Oromo culture, and examines its potential to inform feminist practice and women*s rights advocacy in Africa. Wayyuu, often described as a sacred, revered state, governs how individuals and communities relate to one another with respect and balance. It embodies a code of conduct that elevates respect for women*, nature, and societal harmony. In Oromo culture, wayyuu is often associated with women*, who are considered the bearers of this sacred role. However, in practice, this reverence for women* can be paradoxically tied to their submission to patriarchal structures, where they are both elevated and confined. By revisiting wayyuu and other cultural frameworks in African societies, this project examines how indigenous traditions can both reinforce and challenge gender inequalities. The work critically engages with how the colonial and post-colonial periods have shaped gender relations and how reclaiming cultural traditions like wayyuu can offer new pathways for achieving gender equity.
Irene A’mosi
Irene A'mosi is an artist who explores the word as her main means of expression. With work that spans literature, spoken word, cinema and installation, Irene A'mosi delves into everyday issues, revealing subtle details that often escape the observer's perception. Her work seeks to unveil the poetics of the ordinary, transforming the apparently commonplace into a profound reflection on contemporary life.
Irene A'mosi is an artist who explores the word as her main means of expression. With work that spans literature, spoken word, cinema and installation, Irene A'mosi delves into everyday issues, revealing subtle details that often escape the observer's perception. Her work seeks to unveil the poetics of the ordinary, transforming the apparently commonplace into a profound reflection on contemporary life.
This Character is a Woman
This Character is a Woman is an artistic project exploring the lives and struggles of zungueiras—Angolan women working in the informal street market—who face state violence, police brutality, and economic vulnerability.
Through video, performance, and installation, the project denounces the romanticised image of these women as symbols of resilience, revealing the harsh realities they endure daily.
Central to the work is a performance in which over 100 worn rodilhas—cloth headpieces used to carry goods—are exchanged for new ones in acts of sorority and solidarity. The old radishes are transformed into art objects, preserving the stories of their owners, many of whom have suffered or been silenced by systemic violence.
The exhibition features a striking 20kg dress made from these rodilhas, embodying both beauty and burden. This piece challenges notions of glamour while symbolising the literal and emotional weight these women carry. That Character is a Woman is a tribute to their strength, visibility, and resistance.
Through video, performance, and installation, the project denounces the romanticised image of these women as symbols of resilience, revealing the harsh realities they endure daily.
Central to the work is a performance in which over 100 worn rodilhas—cloth headpieces used to carry goods—are exchanged for new ones in acts of sorority and solidarity. The old radishes are transformed into art objects, preserving the stories of their owners, many of whom have suffered or been silenced by systemic violence.
The exhibition features a striking 20kg dress made from these rodilhas, embodying both beauty and burden. This piece challenges notions of glamour while symbolising the literal and emotional weight these women carry. That Character is a Woman is a tribute to their strength, visibility, and resistance.
