The return to the homeland through the eyes of Anouchka Agbayissah.

Anouchka in her art studio in Paris. Photography by Sharon Aléxie E.

We are witnessing the dawn of a cultural revolution. Though its pace may seem slow, it is legitimate in many respects—particularly regarding the themes and modes of expression that are intrinsic to us, the descendants of Africa. For too long, we distanced ourselves from these elements, overwhelmed by a proliferation of conceptual dictates and by an imperialism disguised as abstract universalism.

This return to the self therefore represents, for our artists, not only a creative necessity—to confront, through art, the inner earthquake that has shaken the entire social fabric of the past decade—but also, and above all, an attempt to fill the gaping void of our shortcomings. They do so by introducing new ways of shaping the imagination of the Afro-European woman through a process of active historical consciousness. The systematic exclusion of women’s voices from cultural institutions exemplifies these deficiencies, revealing the glaring absence of representation of female perspectives in the creation of new narratives for a world in motion.

Anouchka Agbayissah, a former lawyer turned photographer, already pushes against the boundaries of the disciplines she navigates. She renders them more porous, allowing materials and narratives to merge in the living moment of her storytelling—a narrative that unfolds before our eyes through a series exploring the intimate condition of the African subject via the diasporic female figure.

This is the understanding one may reach when encountering Anouchka’s work. Our conversation began one July afternoon in her studio near Paris — rich in detours, as we paused to reflect on shared questions: the structures of art and their breaking points, the unprecedented commitments of artists, and their desire to overturn the ontological frameworks that shape both the diaspora and their own creative processes. It soon became evident that we needed to establish a dialogue between her promising gaze and our critical, historico-aesthetic inquiry—through our resonant sensibilities—in order to faithfully capture the current state of diasporic photography.

Photography in Triptych by Anouchka Agbayissah from her "Homecoming Project" serie.

Three features, three gazes, and the artist's intentions are revealed. The artist affirms the importance of existence by establishing a foundation in her traditions in this life-sized piece. Anouchka's work, which is comprised of two archival photographs of her grandmother and grandfather, as well as a self-portrait in the centre, captivates us in a pursuit of re-establishing a connection with her family history. She acknowledges this by embarking on a return voyage to the countries of her ancestors. The artist introduces us to the primary concept of Akose in a scrupulously crafted symbolic language that features familiar Yoruba accents. Anouchka elucidates that it is, in fact, a profound journey into the highest echelons of spirituality, in which each individual navigates with their "Ori" (destiny) as their master-navigator, with an eye towards the promised land of their realised Being. On this triptych, there are also three colors emblematic of Fon and Yoruba philosophies: red, black, and solemn white. According to the artist, these colours contain genuine "vectors of memories." Red is a symbol of vitality, representing the blood that flows through us and overflows during a struggle. The blackness of the night is a place of enigmatic mystery, but it is also a time when all things regenerate. Lastly, the white banner of spirituality and clarity, which directs spirits towards mercy.

Anouchka in her art studio near Paris. Photography by Sharon Aléxie E.

A.M: What is the origin of your artistic experience and have you encountered any pivotal moments?

Anouchka A. : The COVID-19 pandemic has affected us all. The companies have discontinued the recruiting process.

I therefore responded to this call at the end of my last internship in Togo. I ultimately remained in the region for a year and three months, alternating between Togo, Benin, and a small portion of Ghana, and explored these both well-known and unknown regions. From its faces, its dishes, its landscapes. A moment of complete reconnection.

I maintain an ongoing practice of recording my travels and observations. It has been a habit of mine since childhood.

Therefore, I recorded each of these interactions. I also dedicated time to reviewing the archives of my two families, beginning with my paternal line and then my maternal line, during this reconnection. Upon observing the quantity of photographs, these fragments of memory, I came to the realisation that I had not chosen photography. I comprehended that it was genuinely transmitted to me as a means of recounting our lives, whether from the paternal or maternal side. Our photographic heritage is expansive, and it is, of course, a fundamental component of my artistic practice.

This return to my roots is therefore a catalyst for a personal journey, but also in the emergence of my approach and my practice.

A.M: Your work is rooted in a plethora of traditional techniques, what is the place of history and what impact has it had on the formalization of your images ?

Anouchka A. : During my reconnection journey, I went with my family to the kingdom of Savalou (Benin). Additionally, my maternal grandfather originated from the region situated between Savalou and Abomey. One of the symbols on the palace that particularly resonated with me was the rope: "It is with the old rope that we braid the new one." Our comprehension of the future is enhanced by our knowledge of the past. On the one hand, this elucidates the reason I begin with family archives; on the other hand, it is the reason I employ textiles and thread as a symbol of the connection between past and future generations.

Additionally, I employ textiles to animate the narratives I wish to convey. It is a medium that captivates the senses through its texture and material. This enables an immersion in my process.

A.M: How do you integrate personal narrative into the broader scenography of your work, which, as you previously stated, is predominantly based on history ?  What personal significance do you attribute to your research methodology, and how has it influenced your life ?

Anouchka A. : I have always been passionate about sharing the stories of others, particularly through audiovisual media and photography. I am passionate about serving as a platform for others to share their stories. However, in order to do so, I must also share my own narrative. Consequently, my story is another foundation of my practice.

That is why I examine my personal journey through the perspective of authenticity and the return to the origins of memory. I entitled this undertaking The Homecoming Journey to symbolise the return to one's self and to one's roots. At the outset of this endeavour, I expressed my desire to discuss the concept of cultural, emotional, and spiritual home with precision.

Today, with the globalization we are experiencing, we are indeed the product of a complex history, and we can very quickly be swept away by the flood of erroneous perceptions if we do not anchor ourselves to our roots. Consequently, it serves as an invitation to re-establish contact with our sources.

A.M: How did you build the dialog between photography and archives, and more generally, what is the place of archives in your photographic practice?

Anouchka A. : I chose to put together these archives with my own identity photo, to confront these temporalities. To bring into dialog the received heritage, a transmitted tradition (that of going to the photographer's studio to immortalize the moment) and the body that carries it today.

This face-to-face is not a juxtaposition: it is an attempt at reunification. A method of expressing that transmission isn't restricted to blood, but also occurs through the gaze, image, as well as gesture. Each collage, each impression then becomes a witness of passage. A landscape in which the past is not merely disclosed, but rather transformed into the future. By working with these images — theirs and mine — I am not trying to illustrate a lineage --  I try to activate it, to turn it into a language. A living transmission. Rooted futures, living archives…

A.M: Can you tell us about your technical research and the skills applied in your images, as well as your relationship as a photographer with the materials from your respective cultures?

Anouchka A. : Cotton muslin, a light, billowing fabric that is frequently employed in Benin, serves as the primary support in this work. It functions as a barrier between realms, selected for its transparency and softness, as well as its local origins. It allows light to pass through, reveals without completely disclosing, and evokes the intangible as well as the intimate. By printing my images on this fabric, I seek to materialize the fragility and power of the bond — between generations, between continents, between memories. The muslin serves as the site of a breath, a passage, and a delicate vibration of memory.

Moreover, I decided to sum up the symbols of the ceremonies for the returnees where the Egungun, these masked figures who, in the Yoruba tradition, embody the returnees and establish a link between the living and the dead.

By deciding to embroider the sequins of the Egungun onto my grandparents' archives, I wish to invoke the rites, the continuation of the dances, the songs, the invocations. I see p hotography as a space of passage, a threshold through which family heritage intersects with a collective, spiritual, and political history.