We are excited to present Asmara a new series shot by award winning photographer Girma Berta, four works by the emerging painter Yohannes Tesfaye and a selection of Dawit Abebe’s critical examinations from his ongoing series of collages Mutual Identity.
Dawit Abebe (1978), is an Addis Ababa based artist whose practice is representative of the complexities of the social fabric of Ethiopia, weaving together layers of history with reflective commentary on technological change. Mutual Identity is a body of work following in which he critically examines the themes of power and individual and collective freedom. Experiments in composition and form, explore the collective human experience. A growing sense of responsibility in the face of social and cultural shifts, questions of national and global urgency and their implication on the social fabric, are explored in this series.
Girma Berta (1990), is an award winning young artist based in Addis Ababa, Ethiopia. Born in 1990, Berta is a self-taught photographer whose work fuses street photography with fine art. Girma Berta’s new photographic series Asmara will be on view for the very first time at ICTAF. He was one of the first Ethiopian photographers to visit Asmara after the border between the formally feuding countries opened in late 2018. Girma is an award winning artist whose work fuses street photography with fine art and his images delve deep into the soul of the city capturing a city frozen in time.
Yohannes Tesfaye (1978), studied painting at the AlleSchool of Fine Arts and Design at Addis Ababa University, graduating in 2001 with a Bachelor in Fine Art. After graduation, he travelled to Moscow where he studied at the Surikov Art Institute. In 2005 Yohannes moved to the United States where he currently lives and works in San Diego. Yohannes Tesfaye focuses on two and three-dimensional paintings in acrylic, oil on canvas, wood, fiberglass and a variety of mixed media. His paintings reference African traditions and culture. Using contemporary materials and techniques, his current work examines the practice of ritual tribal scarification in a twenty-first century artistic and historical context.