Up close, burlap, tote bags, denim... fabrics overlap, intertwine, and bind together; a patchwork emerges, and materials that were once separate now form a unified canvas. As you step back, human forms manifest, and with a few strokes of white, a face appears.
Born in 1989 in Abidjan, in the Abobo district, visual artist Ange Arthur Koua draws from the spirituality and legends of his people, the Agni (part of the Akan group), to deconstruct the borders drawn by man. In 2002, like many Ivorians, he and his family were forced to flee when the civil war broke out. Upon their return after the end of the conflict, Ange Arthur was struck by the persistent division between ethnic groups. Through his textile works, he addresses the socio-political situation of his country, the interethnic tensions that divide it, and the possibility of collective construction.
An Akan never dies. When they pass away, their wawé – their soul – continues to live through the deceased's clothing. Ange Arthur collects worn clothes from his neighbors, imbued with the soul of those who wore them. When gathering this material, which becomes his medium, he interviews the people who entrust him with their soul-laden garments, thus also collecting their stories. Whether they are Sénoufo, Bété, Malinké, or Agni, Ange-Arthur creates the patchwork of a diverse but united community.
Anouanzè for Legacy, Ange Arthur's first solo exhibition in Cotonou, continues this exploration. Anouanzè, in the Akan language, means harmony, union, correlation of ideas. The exhibition is a vision for the future of his country and, more broadly, for the continent. In this way, he questions the notion of belonging, which can both anchor and divide us, expressing a desire to reconcile our differences.

Up close, burlap, tote bags, denim... fabrics overlap, intertwine, and bind together; a patchwork emerges, and materials that were once separate now form a unified canvas. As you step back, human forms manifest, and with a few strokes of white, a face appears.
Born in 1989 in Abidjan, in the Abobo district, visual artist Ange Arthur Koua draws from the spirituality and legends of his people, the Agni (part of the Akan group), to deconstruct the borders drawn by man. In 2002, like many Ivorians, he and his family were forced to flee when the civil war broke out. Upon their return after the end of the conflict, Ange Arthur was struck by the persistent division between ethnic groups. Through his textile works, he addresses the socio-political situation of his country, the interethnic tensions that divide it, and the possibility of collective construction.
An Akan never dies. When they pass away, their wawé – their soul – continues to live through the deceased's clothing. Ange Arthur collects worn clothes from his neighbors, imbued with the soul of those who wore them. When gathering this material, which becomes his medium, he interviews the people who entrust him with their soul-laden garments, thus also collecting their stories. Whether they are Sénoufo, Bété, Malinké, or Agni, Ange-Arthur creates the patchwork of a diverse but united community.
Anouanzè for Legacy, Ange Arthur's first solo exhibition in Cotonou, continues this exploration. Anouanzè, in the Akan language, means harmony, union, correlation of ideas. The exhibition is a vision for the future of his country and, more broadly, for the continent. In this way, he questions the notion of belonging, which can both anchor and divide us, expressing a desire to reconcile our differences.

Up close, burlap, tote bags, denim... fabrics overlap, intertwine, and bind together; a patchwork emerges, and materials that were once separate now form a unified canvas. As you step back, human forms manifest, and with a few strokes of white, a face appears.
Born in 1989 in Abidjan, in the Abobo district, visual artist Ange Arthur Koua draws from the spirituality and legends of his people, the Agni (part of the Akan group), to deconstruct the borders drawn by man. In 2002, like many Ivorians, he and his family were forced to flee when the civil war broke out. Upon their return after the end of the conflict, Ange Arthur was struck by the persistent division between ethnic groups. Through his textile works, he addresses the socio-political situation of his country, the interethnic tensions that divide it, and the possibility of collective construction.
An Akan never dies. When they pass away, their wawé – their soul – continues to live through the deceased's clothing. Ange Arthur collects worn clothes from his neighbors, imbued with the soul of those who wore them. When gathering this material, which becomes his medium, he interviews the people who entrust him with their soul-laden garments, thus also collecting their stories. Whether they are Sénoufo, Bété, Malinké, or Agni, Ange-Arthur creates the patchwork of a diverse but united community.
Anouanzè for Legacy, Ange Arthur's first solo exhibition in Cotonou, continues this exploration. Anouanzè, in the Akan language, means harmony, union, correlation of ideas. The exhibition is a vision for the future of his country and, more broadly, for the continent. In this way, he questions the notion of belonging, which can both anchor and divide us, expressing a desire to reconcile our differences.