Spatial Parasites : Hybrids In Open Dialogue
Gracious Ameleme Eleagbe reflects on Timothy Morton’s contribution to Speculative realism, who argues that objects are mysterious, interconnected and inherently withdrawn in the composition of the world. He defines the chaotic interconnectedness of living things as a mesh in which every entity is a node, operating without a centre or a distinction between foreground and background.
Eleagbe pays attention to materials in their simplest form to build speculative subconscious forms that cohabitate a speculative ecosystem. He uses malleable, translucent and transparent materials — silicon moulds, glass, plastic bags, clay, light, metal, water, plastic, fabrics, rubber and mechanical parts. The materials are animated with dynamic movement, colliding with multiple bodies in Kyeremanteng Park, changing form into autonomous entities in themselves.
In Spatial Parasites In Open Dialogue, Eleagbe collapses the hierarchy of the correlation pyramid to imagine entities as parasites attached to physical space as the host. Curated by @akodei_amyboah and @_njuchi …….📸@mettegenet 🙏🏽✨ massive thanks to @ekualord@benjoonam@tracynkthompson@ludwig_o.bonsu@_isaacofori_@sudaisu_osman@iubizzle@baselagyei@kusi_freedom@enambosokah@aidenmanuel6@iamdbkyei 🙏🏽
Spatial Parasites : Hybrids In Open Dialogue
Gracious Ameleme Eleagbe reflects on Timothy Morton’s contribution to Speculative realism, who argues that objects are mysterious, interconnected and inherently withdrawn in the composition of the world. He defines the chaotic interconnectedness of living things as a mesh in which every entity is a node, operating without a centre or a distinction between foreground and background.
Eleagbe pays attention to materials in their simplest form to build speculative subconscious forms that cohabitate a speculative ecosystem. He uses malleable, translucent and transparent materials — silicon moulds, glass, plastic bags, clay, light, metal, water, plastic, fabrics, rubber and mechanical parts. The materials are animated with dynamic movement, colliding with multiple bodies in Kyeremanteng Park, changing form into autonomous entities in themselves.
In Spatial Parasites In Open Dialogue, Eleagbe collapses the hierarchy of the correlation pyramid to imagine entities as parasites attached to physical space as the host. Curated by @akodei_amyboah and @_njuchi 📸 @msta.kay@kobbyperson07 , @yacayaka_@phenihas_a_amankwah@enambosokah big thanks to 🙏🏽 @kusi_freedom@naomi_sakyi_jr@baselagyei@_isaacofori_
Spatial Parasites: Hybrids In Open Dialogue
Gracious Ameleme Eleagbe reflects on Timothy Morton’s contribution to Speculative realism, who argues that objects are mysterious, interconnected and inherently withdrawn in the composition of the world. He defines the chaotic interconnectedness of living things as a mesh in which every entity is a node, operating without a centre or a distinction between foreground and background.
Eleagbe pays attention to materials in their simplest form to build speculative subconscious forms that cohabitate a speculative ecosystem. He uses malleable, translucent and transparent materials — silicon moulds, glass, plastic bags, clay, light, metal, water, plastic, fabrics, rubber and mechanical parts. The materials are animated with dynamic movement, colliding with multiple bodies in Kyeremanteng Park, changing form into autonomous entities in themselves.
In Spatial Parasites In Open Dialogue, Eleagbe collapses the hierarchy of the correlation pyramid to imagine entities as parasites attached to physical space as the host.
Following the objects’ crease lines, Mayhem is a vertical Wall of images constructed with the unfolded images remolded into new shapes. Whereas the images in this Photomontage can not be reconciled by sight with each of the former objects in shape, and later by form–are pretty one and the same thing.
Thank for your support during the installation @nantumeviolet@amazin.astro@victorianabulime2@louisedeininger
Photo credits @kisa.kilungi@victorianabulime2@hassan_issah1
This is
21.03.2026-30.03.2026,
Is experiment with a photography process that uses objects to register images. Green Cyanotype treated Chip Paper, Vanguard papèr and Watercolor paper is folded into Origami objects. The objects are made in a number and are exposed to Sunlight between three to fifteen minutes, to turn into various shades of Cyane Blue. The exposed surfaces of the folded objects turn Blue while the concealed surfaces remain White.
When unfolded, the objects leave behind an index of their construction; the permanent Crease lines by each fold and Blue Pigments that are the direct physical trace of UV Light onto the Paper surface by a reduction of Iron when Ammonium III Citrate reacts with Potassium III Hexe Cyanoferrate.
Thank for your support during the installation @amazin.astro@victorianabulime2@nantumeviolet@louisedeininger
Photo credits @kisa.kilungi@victorianabulime2@hassan_issah1
entrance and kitchen,
images of the exhibition were taken before and the morning after the party. The origami moved through the space as residents of the house.
a score from domestic origami left unattended unfolded inside a home as a site of choreography, residue, and quiet transformation. Origami dispersed throughout a lived apartment occupy thresholds: kitchen, hallway, bathroom without announcement or theatrical framing. The folded forms were positioned as residents not as exhibits to be observed. The space remained operational, food was prepared, conversations unfolded, guests moved freely. The origami forms existed within this flow, neither spectacle nor ornament, but subtle agents of interruption.
This exhibition was an inquiry on attention, how it gathers, drifts, and dissipates. By leaving the folded forms “unattended,” and the audience uninformed, it resisted the authoritative gaze of display. The origami became witnesses rather than objects of scrutiny. They quietly accumulated meaning through proximity to human gestures. The domestic space became a score: a structure within which unscripted actions occur.
The work engages ideas of unfolding as a physical and temporal act. Paper holds the memory of the fold; the apartment holds the memory of use as sequence of gestures, folding, washing, storing, looking, releasing. The work does not present a finished object but proposes a condition in which folded paper, movement, and time coexist. The exhibition becomes an unfolding rather than a presentation, and the audience becomes participants within an activated domestic field. “a score from domestic origami left unattended” remains both refusal and framework.
Out and about in Uganda (ii).
We are grateful to our hosts @underground8808@vodoarts@zitonitristan@nantumeviolet@_njuchi@yigart_joshua_m@the.wamala.art@piloyairene88 and their networks for ensuring a pleasant curatorial research trip.
Join us at the ICT Innovation Hub in Kampala for our public talk today at 5pm.
blaxTARLINES: AFRICAN UNITY BY OTHER MEANS
Photos courtesy of @yigart_joshua_m
#blaxtarlines #blaxtarlineskumasi #uganda #undergroundcontemporary #vodoartsociety #knust #ghana
