Zohra Opoku
‘Horus is the one who rescues (and) who impedes. Horus is his father. Horus is (his) mother. Horus is this [brother]. Horus is this friend. Horus came from the seed of his father when he was decaying. He rules Egypt (and) the gods serve him. Nursing milli, 2021
Indigo dyed linen, Monotype print, Screenprint, thread
91 x 56 in
231.1 x 142.2 cm
231.1 x 142.2 cm
Copyright the Artist
‘The Myths of Eternal Life’, Zohra Opoku’s latest body of work, is an exercise that seeks to be both healing and transformative. The series explores the afterlife, particularly into the...
‘The Myths of Eternal Life’, Zohra Opoku’s latest body of work, is an exercise that seeks to be both healing and transformative. The series explores the afterlife, particularly into the mysticism of hieroglyphics in ancient Egypt inspired by the papyrus, known as Book Of The Dead, a guidebook for the journey beyond this world and existence.
This series is a celestial phase from the origin of Africa, that delves into the unknown of life and death - specifically in pursuit of healing where the fragments of body parts symbolize metaphors for the human spirit. Opoku adopted silkscreened collage imagery of tree branches that represent signatures of being, connecting plants and body parts to become one.
The works move through cycles of light and darkness, alongside gods who reside, herein moments she imagined which empower the unknown of the Netherworld of her darkest fears. Beside depicting images of her dreams, the shadows cast in the pieces of natural architectural elements represent the border between the denial and the affirmative. The beliefs and anxieties helped Opoku to overcome her own personal illness and to compose artworks which embrace colours from her former monochrome palettes as well as merging into few procreated brass sculptures.
This series is a celestial phase from the origin of Africa, that delves into the unknown of life and death - specifically in pursuit of healing where the fragments of body parts symbolize metaphors for the human spirit. Opoku adopted silkscreened collage imagery of tree branches that represent signatures of being, connecting plants and body parts to become one.
The works move through cycles of light and darkness, alongside gods who reside, herein moments she imagined which empower the unknown of the Netherworld of her darkest fears. Beside depicting images of her dreams, the shadows cast in the pieces of natural architectural elements represent the border between the denial and the affirmative. The beliefs and anxieties helped Opoku to overcome her own personal illness and to compose artworks which embrace colours from her former monochrome palettes as well as merging into few procreated brass sculptures.
