The message conveyed by Theophany Adoh is the essential. But his aesthetics are just as important.
Théophany Adoh highlights the paradoxes associated with the rights and place of women in African societies. His colorful backgrounds and his artistic anti-academism blend an almost ingenuous universe with the gravity of the female condition. The message conveyed by Theophany Adoh is the essential, but his aesthetics are just as important. He portrays women with big eyes full of hope. Their mouths are wide open, ready to express their thoughts. At every stage of their lives, they ride motorcycles, making these two-wheelers a perfectly feminine attribute, a symbol of their freedom in a century in which they play an important role. The motorbike adapts their outfits, shapes their attitudes, accompanies their movements and, above all, their self-fulfillment.
Born in 1993 in Abidjan, where he studied at the Ecole des Beaux-Arts, Theophany Adoh is a member of the Braid Art movement, which breaks with academic canons. He has made the exaggerated features of his characters his trademark. When their mouths merge in the moment of seduction, their commitment is materialised in a shared gaze. Full lips and wide eyelids are no longer just physical features, they underline the evolution of love.