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“A wound opened exactly in the middle of her back, in between her shoulders on the wrinkly old skin.

By approaching ,the wound enlarged, became wider and wider.


The wound became a passage. It was possible to enter the wound- it was a door to another world, a hidden dimension.”


The escape, the changement of the present reality through magic, transformation,is the inspiration- peculiar to west african narratives, explored during residencies in Nigeria and Burkinafaso , i have been collecting, recording and reading fairytales- stories,where the survival depends on the knowledge of magical and spiritual world, the ability to transform the spirit and the body into something else- those  dimentions are absolutely necessary  to ensure the possibility of a full life.

The landscape elements are the structures of possible homes, nutrition, healing- a perfect formula where the body could transform revolutionize and live a perfect cycle.


The body is the place that connects and dialogues with the natural surrounding, the landscape. Both are in constant dialogue and exchange- magic is the door that allowes body and landscape to open into other dimensions, spiritual spaces. Those dialogues are the only way to resurrect and revolutionize, create possibilities-


 The subject is an ongoing work explored through- visual sketches  in the form of posters- sculptures either clay or bronze  and video- spoken world.

Diana Ejaita’s practice across art installation, illustration and textile design are means to reinvigorate visual story-telling traditions of her African lineage . As Nigerian-Italian practitioner in the Diaspora, Ejaita’s artworks are a way of shaping notions of belonging, while also becoming a dynamic space to revitalize aesthetic genealogies from the African continent. This oscillation between worlds is reflected in her visual reinterpretation of stories, that she collects through her travels in west africa, or from the narrative techniques of West African textiles.. For O Quilombismo, the artist has created a mural composition in which figures interlaced in the movements of story-telling. Being recurring motifs in this series, bodies emerge and transform throughout the pictorial space. As in West African narratives with which Ejaita dialogues, the present symbols act as paths to spiritual landscapes. As in magic-based narratives, the mural summons us to transcend the visual and engage in the modes of myths co-participation, as channel to the ancestors. (HKW)

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