crazinisT artisT, explores notions of belongingness in a post religious world and takes on the artistic responsibility to question the conscience of humanity.

pieta-afriCan ressurect, crazinisT artisT & Natascia Silverio at Chale Wote Art Festival 2015. Photo credit: Ekoue Kangni

crazinisT artisT uses the body as a thought provoking tool and material that confronts and exploits the stereotypical aesthetics of marginalised citizens within ‘so-called’ civilised societies. As in 'Pieta-afriCan resurrect’ these questions are opened-up - as the black crucified Jesus is carried by a white Virgin Mary. Performed on the steps of Bible House. The christ covered with engine oil and Virgin Mary in underwear talks more about the failure of African future. In the words of the artist; "Africa is never dead, it is only in a deactivated mode, full of inferiority complexities and disbelief of self­-empowerment."

"Letter to the Church" 2017. St Peter's Cathedral Basilica, Kumasi  Roman Hill Photo credit:  Tommy Maverick

"Letter to the church" was performed on Good Friday & Easter Sunday in 2017 on the steps of two churches in Ghana, Africa. This performance intervention is to confront the church with their own texts, teachings, fear, contradictions, prejudices, condemnations and hypocrisy. 
If "Letter to the Church" is to question the power relations and the borders between being privileged and being marginalised. It is holding the Church responsible as its  self-righteous followers practice all forms of prejudice and socio-religious discriminations. 
In African pre-christian belief, Kwodwo-basia (Kojo Besia) is an Akan (twi) name for men usually very feminine (effeminate) or acting as such. Traditionally, it was no sign of sexuality but showing certain humour and weakness as imperfect man.
But the central question being asked here is: "What is the role of the church in determining the fate and destiny of such individuals within homophobic societies and beyond?"

"dZikudZikui-aBiku-aBiikus" -2018. (Photo - Anwar Sadat Mohammed)

The title of this piece, dZikudZikui-aBiku-aBiikus, (from the Ewe and Yoruba beliefs) refers to the vulnerable individuals who seem to be owned by death by the purists and neo-supremacists. The site of the performance is both a place celebrating the Christian Good Friday as well a place known for instant justice and mob inspired homophobic attacks. 
The signature clay and chains adorns the performer and is dangerously bound to the petrol doused flaming truck tyre. The performer struggles to move away but in so doing ignites many other petrol doused points which seem to be clothes left at the scene by others.
Why Good Friday. crazinisT explains, "It calls for people of all [forms] and [powers] to reflect on their contribution, action and inaction in/to human violence, discrimination, hate, prejudice, our vulnerabilities and mortality." Here we are questioning Christianity on its Good Friday and its irresponsibility in regard to human right violations. 
What I find challenging and powerful with these performance interventions is the frontal attack on those who are privileged and those who oppress the marginalised through their cultural institutions.

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