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Efie: Museum As Home—An Introduction
When I think 'home', I inevitably think 'Earth’ —home of all homes. Thus Efie: The Museum As Home, becomes, to me, the museum as Earth, Earth as the museum.

Then I wonder:

What records would Earth hold? What memories would it store for audiences of the future? What stories would this museum tell of our humanity?

It is impossible to consider these questions without considering humanity's current trajectory. Especially because we continue to make earth—our home—more uninhabitable by the day. And barring an extremely drastic change in the super structure, we’re bound to cross some point of no return and careen head-first towards our eventual demise.

Such an ending would be a travesty given how close we once were to Earth. There was a time when we revered nature and were more respectful towards our fellow earthlings. We knew how to take care of ourselves and make Earth a true home. We weren't all so blinded by the mindless accumulation of more capital at the expense of life.

My exploration intends to hearken back to those times when we remembered what it meant to be stewards of Earth. My work will speak to a time when we were truly close to nature and sought coexistence and harmony instead than pure domination and harm. Those life-affirming times when we felt a kinship with other earthlings and with Earth—Asaase Yaa —herself. This will be an experience that centers love, oneness and the power of the homo sapiens too.

And so even if we did cross that ill-fated point of no return, this body of work would still hold memories of that once-upon-a-time when we recognized our oneness with Earth; our museum, our home.

Asaase Yaa: Earth’s Skin, Mind’s Mirror
Asaase Yaa honam
Asaase Yaa ho yɛ nam
Asaase Yaa honam nti—
Ɛno nti na yɛ nenam nenam

What happens on earth’s surface is a reflection of our collective minds. The experience I’m looking to create seeks to reflect this truth by taking full advantage of the Fufuzela’s versatility inside and out. In essence Earth, Asaase Yaa, embodied by the Fufuzela, is the human mind’s mirror.

Her Skin: On the Outside of Asaase Yaa
On the outside, I would like to explore a time-based ‘shedding’ of the Fufuzela’s skin. In essence, as the exhibition progresses, the material covering the Fufuzela’s skeleton will change three times over the three months. So each month, viewers get to experience a different skin which represents a different state of the Earth.

I imagine that this process of skin transformation (or Earth mutation or Asaase Yaa undressing), will be facilitated by museum staff who will swap out the skins one after the next, during the course of the exhibtion.

Fig. 0B

Skin Zero: Plantenna—Memories of the Past
This skin will be made of different, mostly green plants. The idea is to cover the entire Fufuzela with plants and immerse the audience in a living Earth that was not as contaminated as it is today. I imagine big plantain leaves as well as hanging plants with roots suspended in water, covering the entire structure, creating a feeling of cool within the Fufuzela.

This experience will be accompanied by a custom made soundtrack that mixes the sounds of nature with Twi poetry. The audio will be play within the Fufuzela, creating a memorable ambience that blends with the essence and the smells of the plants.

Fig. 1A

Skin One: Water Plixels—A View of Today
With Skin One, what the audience will experience is a contiguous ‘fabric’ created by joining together folded squares of discarded sachet water together. This material would be draped over the Fufuzela and would speak to the man-made, plastic-driven environmental pollution we’re currently drowning in.

I imagine pairing this experience with a soundscape of urban and industrial noises which will help create an atmosphere that reinforces the role that ‘modernity’ has played in getting us—and Asaase Yaa—to this precipice.

Fig. 2A, Fig. 2B

Skin Two: Alternate Future Mindscapes—A Dream of Tomorrow
For Skin Two, a large print of retrofuturist digital artwork will be made and fitted onto the Fufuzela. Echoing Sankofa, this ‘skinprint’ will speak to where humanity could be if we were more intentional about living in harmony with Asaase Yaa.

The intention is to pair this skin with matching audio on the inside of the Fufuzela during the month which it’ll be on display. Echoing Sankofa, this ‘skinprint’will speak to where humanity could

Fig. 3A

In Her Bosom—Inside Asaase Yaa
Inside the Fufuzela, I would like to create an experience that connects with what the skins on the outside communicate to the audience. Beyond this, I would like the experience to interact with all the human senses, barring taste. The audience will have something to touch and hold, memorable smells they can engage with, and immersive audiovisuals to interact with.

SS. Asaase Yaa—Virtual Reality (VR) Teleportation
The main interior experience will involve the audience ‘plugging themselves’ into Asaase Yaa via a suspended ‘umbilical cord’ that originates from the apex of the Fufuzela. This is meant to reinforce the idea of oneness with Earth, our home, while creating a very striking image as well.

At the end of this cord will be a pod which they’ll put their heads in, in order to have a host of experiences including a VR experience.

Vid. 1A

Reflecting Home—Recognizing Our Oneness With Earth
I also imagine having mirrors the size of the skinprints, installed throughout the interior of the Fufuzela (or at least have a mirror as the ‘ceiling’ of the Fufuzela). This would make it such that one would see him or herself reflected throughout the space, as though they were part of the Fufuzela; part of the Earth. This thereby reinforces the idea of oneness with our home, which is the motivation of this entire exploration.

Questions For DK (and ANO Team)

Question #1
What kind of material would be most ideal to use as a skinprint as depicted in Fig. 3A? 

And would such a print have to be contiguous so that it matches the unfolded Fufuzela as depicted in Fig. 4A? Or would we have to make individual prints for each polygon and join them to make them feel contiguous?
Fig. 4A

Question #2
What would be the best way to mount or string something from the top of the Fufuzela as depicted in Fig. 5A?
Fig. 5A

Question #3
Is it feasible to have mirrors the size of the unfolded polygons throughout the interior of the Fufuzela? Or would mounting only one mirror as the ‘ceiling’ of the Fufuzela work?

Question #4
Is it feasible to expect the museum staff to change the skins of the Fufuzela at the of the first and second month after the exhibition opens?

Question #5
What would be the best way to get the kind of plant covering depicted in Fig. 1A while keeping the plants alive? 

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