Development

Ein Text über die Arbeit der KünstlerinAkosua Viktoria Adu-sanyah(07/2020)

www.akosuaviktoria.com

I see forests, paths, trees, roads, deer lying on the roadside, learn of long exposure in nocturnal fields in southern France, standing for half an hour in a corner of a room, listening to music, falling self-portraits, confronting a scanner until the muscles of the posture taken for it cramp – and much more. And I’ve also seen colors. Colors that I didn’t know before.
These pictures can only reach me because Akosua took them. She was physically and mentally in a place. She was there and faced. With darkness, light, seclusion, interpersonal relationships with death and with herself. She has done it, continues to do it and shares some fragments of these situations with us through photographs and texts.
Through her photographs and text fragments, Akosua provokes the will in me to put myself mentally into these situations and places. I make internal observations and experiences. However, we will never have been in the same place. Our experiences differ.
To get closer to Akosua’s work, I consider the sensitive processes of analog photography, time in relation to light and chemical processes in darkness. As I know Akosua, I know that Akosua’s attitude to life is to keep developing, inseparable from her artistic work. I read the processes of development as a picture that can help us to better understand our environment.

If the individual components of the situation change, so does the development and the view of the moments in which we are, the moments which have already passed and the possibilities of the future. Depending on the development, colors appear different. Some connections only become visible through certain aspects of time, or a place, or a reaction, or a change, or the various combinations of images.
After the actions, after the stays in places, the confrontations, photography is what remains. It is both a remnant of something past and something new at the same time. Tales are carried on through these photographs, new narratives can develop, or past narratives change their truthfulness. I see Akosua’s work as an opportunity to get closer to situations, places and people.
How do narratives change through the omission and addition of images, excerpts, experiences? How do we confront our own narration? Will we create conditions in which brightness, light, darkness and actions come together? And how will we develop further?