In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
2026
cotton blend, Chevron beads, metal, digital prints
335 x 260 cm
Ernestina Mansa Doku’s work invites reflection on how identities – of people, objects, and materials – are shaped by layers of history, encounters, and exchange.
Through references to African wax print and Chevron beads, the artist introduces us to the multilayered identities embedded in materials. Stained-glass windows, incorporating motifs inspired by African wax print, remind us of textiles as carriers of meaning, just as stained glass once served to educate broad communities. We are also invited into a structure shaped like a Chevron bead, which is not merely an object to be viewed – it can be entered, becoming a space for reflection.
The Echoes from Within encourages us to see identity as multilayered rather than linear, acknowledging both the beauty and the scars of the past, and emphasizing how revisiting these histories can inspire new ways of thinking, collaborating, and understanding identity.
Ernestina Mansa Doku (b. 2001) is a Ghanaian visual artist of the younger generation who lives and works in Accra. She works primarily with acrylic paint, as well as artistic textiles, animation, and sculpture. In her practice, she seeks to challenge anthropocentric perceptions of lived experience, opening space for a posthumanist perspective. The artist describes her creative processes as a form of surgical intervention; through deformation, reorganisation, transformation, multiplication, or division of forms, she strives to create something new.
