INHERITANCE – Poems of Non-Belonging

A growing narrative on the incompatible nature of my biracial identity, provoked by the conflicting desires of belonging for once, and being free from external judgment.

There are tones of blacks, whites, and greys in representational, personal, or experimental portraits. There is a reflection on the White Gaze, commentary on exotism, and other visual poems. There is nature, which is where we’re equal in our origin, yet it is dark and leaves room for how the perceived is described and passed on. But the natural is always intertwined with the artificial – like the human who remains captive of his very own ideology. 'INHERITANCE – Poems of Non-Belonging' is a growing narrative on the incompatible nature of my biracial identity, provoked by the conflicting desires of belonging for once, and yet wanting to be able to define the Self independently from external judgment and categorization, while remaining the other – regardless if I’m confronted with my presence in the white culture I grew up in, or with a temporary appearance in a Black culture.

While 'INHERITANCE' is undeniably shaped by autobiographical matters, the work also reflects on the urgent contemporary debate around systemic racism and anti-blackness in the context of a recently growing awareness from those who are not affected themselves, and the uprising from those who suffer from it.

Rather than pretending a simplicity of the subjects involved by choosing an approach of homogenous visual form, INHERITANCE is deliberately diverse in its commentary and materiality, attempting to reflect on the fragmentation of the Self and the complex process of re-constructing identity. The work has recently been awarded the Prix Photoforum 2020.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: Stephen Kofi Adu-Sanyah and Gabriele Maria Elisabeth Adu-Sanyah (neé Schlüter) medium: two silver gelatin prints 80 x 65 cm each 2020 My dear father passed away unexpectedly on the 9th of August 2021 in Accra. In 2016, a few months after I finished my diploma degree in fine arts, my father became a victim of a tragic surgical mistake related to racial bias that caused hospital staff to believe that regardless of his age (almost 70 at that time), he had enough stamina to get through prostate surgery without blood transfusion. It turned out that he did not have enough stamina, and the staff’s decision brought about a blood loss of almost 70% that resulted in severe damage to his nervous system. A few days later, the breakdown led to my father losing his eyesight. He never recovered from the loss and lived as a blind man since then, alone in his apartment near Frankfurt. Although divorced, my mother took care of and supported him in finding legal justice for almost five years. Apart from the trauma that my rather decentralized family has gone through since it happened, the incident very much concerned me philosophically. My father had moved to Germany in his student years. We always only spoke German. But he, of course, always was the other. And while his perception of his environment had lost any possibility of prejudice by sight since being blind, he became even more annihilated by those who perceived him as the other. It is indeed through my photographic work at night, and even more through my work in the color darkroom that I intensified in 2017/2018, where the visible is created in entirely dark circumstances (there is no red light and no light at all allowed when hand printing color negatives), that I attempt to better understand his isolation in the dark. He is free now.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: not a crow, not in a gallery medium: silver gelatin print 24 x 18 cm 2019 A raven on display during the MY GARDEN OF EDEN exhibition at gallery Christophe Guye in 2019. The bird was not a piece from a participating artist, but a decorative object borrowed from a taxidermist. It was photographed through the window from outside.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: Yaa Menu medium: Piezography Pro print between glass plates 105 x 65 x 0.4 cm 2021 My grandmother Yaa Menu’s portrait that I carried in my notbook for years. She was an Ashanti woman, born near Kumasi. We saw each other not more than three times before she died in 2007.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: Asamando Lambda Print 100 x 80 cm 2021 A photograph of the ocean horizon in Cape Coast, taken from the perspective of the Door of No Return behind Castle Elmina’s male slave dungeons. It would have been one of the final views on the ocean for the enslaved of the Gold Coast. Asamando is the land of spirits in Akan cosmology. While Christianity and other religions refer to the sky or heaven as a place where a god would live, the Akan ancestral world Asamando lies beneath the earth. The photograph is rotated and manipulated in color – from original blue tones to the complementary fleshy-earthy shades of pink.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: White Gaze [study] medium: photographic sculpture 100 cm x 100 cm 2020 A sheet of light-sensitive glossy baryt paper exposed with pure white light, developed, fixed, rinsed, dried, scrunched, and re-flattened. Through reflection, the irregular surface of the black image produces dozens of white areas depending on the point of view. This is an ongoing series. In June 2020, global protests against police brutality against Black people and People of Color were triggered by the case of the white police officer Derek Chauvin murdering the African-American man George Floyd by kneeling on his neck for eight minutes and forty-six seconds on the 25th of May in Minneapolis.Thousands of black squares with the hashtag #blackouttuesday were posted on Instagram in the name of solidarity – also by Swiss cultural institutions.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: Wilhelm Schlüter medium: Piezography Pro print between glass plates 105 x 65 x 0.4 cm 2020 Wilhelm Schlüter was Obergefreiter in the Wehrmacht’s Luftwaffe during World War II. He died in Germany after being unable to recover from war captivity in Russia. The original hand-sized vintage silver gelatin print is marked with ‘1933/1934’ and ‘Holland’ on the back. It is part of a family archive, but this particular portrait of my great-grandfather has been haunting me for years. Is this a man I could have had a conversation with? Would he have been interested in knowing what concerns me? What does it mean to be family, to be familiar? There is a fondness in me towards this man that seems deeply contradictory. The large-format reproduction of this photograph serves as a tool of connection that allows for moving beyond the function of mere representation of a historical moment.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: Oak [How The Light Gets In] medium: analog c-print 70 x 50 cm 2018 Working at night is an integral part of my photographic work. I am looking for the tones of darkness in an environment that cannot be navigated anymore by the visual sense alone. The color darkroom allows me to reveal the surreal palette of colors that night has to offer beneath the enveloping veil of blackness. I titled this piece incorrectly before recognizing that I had not been photographing an oak tree struck by lightning, but a poplar tree instead.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: skins medium: photographic sculpture deerskin, light-sensitive silver chlorobromide emulsion approx. 40 x 40 x 2 cm 2020 Deerskin coated with light-sensitive chlorobromide emulsion, then exposed with a black-and-white negative of a macro photograph of my skin. Then, the deerskin was developed in photographic chemicals, fixed, rinsed, and dried. Then repeatedly partly soaked, folded, and dried, almost performatively. The deer’s and my skin become common ground.

© Akosua Viktoria Adu-Sanyah - simulant III [collaterals]
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simulant III [collaterals]

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: stone medium: photographic sculpture 1 square meter bourette silk, light-sensitive silver chlorobromide emulsion, white thread approx. 20 x 20 x 20 cm 2020 Roughly one square meter of 140gr/m bourette silk coated with light-sensitive chlorobromide emulsion, then exposed multiple times with a black-and-white negative of a macro photograph of my skin. The silk then was soaked in the photographic developer, chemically fixed, soaked in water, dried, folded, crumpled, dried, and loosely kept in shape with white thread. Photographic emulsion is highly vulnerable, leading to a landscape of unevenly distributed scars, reminiscent of my own body. The scars my skin has made space for are there to stay, as I am prone to hyperpigmentation and my skin needs years to heal from even the tiniest damage.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: périphérie I medium: one of two performative photographs, chromogenic print 70 x 50 cm 2015-2020 Darkness is an entity. I covered myself in a plastic sheet at night, nowhere in France, while my camera condensed a supposedly eternal passing of time on a single frame of color negative film. The duo piece périphérie I+II is the intersection between Inheritance – Poems of Non-Belonging and révélée, a body of work that represents an extended exploration of the Self based on performative photography. The work defines itself through the absence of the human somatic dimension, while revealing the body of darkness through time. révélée – past participle perfect, feminine; Infinitive: révéler – unveiled, revealed, uncovered In analog photography, the French term révélée is also used to describe the handmade print.

© Akosua Viktoria Adu-Sanyah - Image from the INHERITANCE – Poems of Non-Belonging photography project
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title: périphérie II medium: one of two performative photographs, chromogenic print 70 x 50 cm 2015-2020 Darkness is an entity. I covered myself in a plastic sheet at night, nowhere in France, while my camera condensed a supposedly eternal passing of time on a single frame of color negative film. The duo piece périphérie I+II is the intersection between Inheritance – Poems of Non-Belonging and révélée, a body of work that represents an extended exploration of the Self based on performative photography. The work defines itself through the absence of the human somatic dimension, while revealing the body of darkness through time. révélée – past participle perfect, feminine; Infinitive: révéler – unveiled, revealed, uncovered In analog photography, the French term révélée is also used to describe the handmade print.

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