Adaeze Ihebom on being an Igbo- Italian woman, the female body and self-portraiture as psychoanalysis
born in Rome to Nigerian parents, the Italian-Nigerian photographer’s work speaks to a history of unfolding; unfolding her identities, the complex patchwork of histories that brought her to this point and ultimately an unfolding of herself. her work and approach to that work is a study in interiority. here the emerging artist lets us into her reality, discussing her inspirations, dual identities and challenging the male and Western gaze
Adaeze
I was born and raised in Italy, where I lived for most of my life, I also lived in Nigeria for four years, and now I'm currently residing in London. I’m a daydreamer, and as a child, I was always drawn to the arts - it felt like the only way to express my imagination and make up my own stories. My parents knew that I loved drawing so they would buy me art supplies and art books whenever they had the opportunity, although they thought it was a hobby until I had to enrol into art in high school and needed their signature. When I eventually told them I wanted to study arts (at university) they didn't take it well and we had long conversations about it. They were worried about my ability to make a living if I chose that path but I somehow managed to convince them in the end. I remember my dad saying, "If this makes you happy then you have my support". Although it does sometimes cross my mind that maybe my parents let me because I wasn't the only child.
My work mainly converges on the female identity through photography and the art of self-portraiture. In one of my earlier series "Imagining the Self", I examine my duality as an Igbo and Italian woman. I drift my gaze towards the camera visualizing a personal conversation with myself. The series was swayed by the identity crisis I experienced during my teens, and I wanted to reconstruct those moments. As I carried on in search of my identity, I developed the series "Igbo Woman". The series is a progression of my previous work, and I chose to further my research deepening my idea of what it signifies to be an Igbo and a woman. Through my photography, I attempt to challenge the male and western gaze.
Imagining the Self. Ongoing. Adaeze Ihebom.
On Artistry and Process
What would you say is your process? How does your role as an artist focused on experimentation and expression align with your larger artist statement?
I think the way I approach my artistic process is more like psychoanalysis which makes me visually introspective. There is a marvelous quote by Chinua Achebe which resonates with me: “Nobody can teach me who I am. You can describe parts of me, but who I am - and what I need - is something I have to find out myself.” I am not attempting to impress or speak for everyone. I tend to discourse from my own experience, and in the process, people relate to it.
You work predominantly with photography, how did you decide on the medium?
I was never fascinated by photography until I came across an exhibition in Modena (Italy) where for the first time, I encountered some African photographers who were able to tell their stories through their lenses. I found that extremely powerful, and it inspired my medium.
Can you tell us about a project or body of work you are currently working on?
I've just finished working on a video piece for IFE NKILI which is their first annual Black women's arts festival celebrating identity and heritage. I produced a video performance reflecting on how people challenge my own identity and how oftentimes I get viewed or regarded by the western gaze.
Do you produce any work that you keep just for yourself?
Yes, I do. There are some works I've produced, and when I think "It's too personal", I prefer to retain them to myself. For me, taking pictures or videos is like writing where I need to display my dark inner thoughts, and I think I'm not ready yet to reveal them as that would mean that people could easily recognize me.
Imagining the Self. Ongoing. Adaeze Ihebom.
‘I guess growing up in a predominantly white country like Italy with little or no narratives on African novels, and always assimilating negative stereotypes on the Black bodies motivated me. As Chinua Achebe said, “If you don't like someone's story, write your own”, I intend to do that.’
On Influences and Inspirations
How has your background as an artist with African heritage influenced your work?
I guess growing up in a predominantly white country like Italy with little or no narratives on African novels, and always assimilating negative stereotypes on the Black bodies motivated me. And as Chinua Achebe said, “If you don't like someone's story, write your own.”, and I intend to do that. Also, to add to what I said previously I use photography to learn more about my dual identities.
What artists do you look to for inspiration?
I tend to look at other self-portrait artists and painters like: Cindy Sherman, Zanele Muholi, Samuel Fosso, Gillian Wearing and Caravaggio.
What are some references that have influenced and continue to influence your work?
The book Things Fall Apart inspired the work "Igbo Woman" and there is an image from my series "Imagining the Self" that was referenced to the self-portrait of Lee Miller in Hitler's bathtub. (Miller’s son has described this as his mother “sticking two fingers up at Hitler. On the floor are her boots, covered with the filth of Dachau, which she has trodden all over Hitler’s bathroom floor. She is saying she is the victor.”)
I did a self-portrait in reference to the Olympia of Edward Manet where I am the photographer and muse.We could say that Manet’s Olympia is quite impressive because the female model seems in control of her own body. Although Olympia is a sort of revolution for the female body and empowerment that doesn’t mean it displays all-female empowerment. For starters, the Black woman in the painting is a mere servant, and in those times, it was very common to have a Black slave as France was colonising Africa in that period. My attempt in recreating the painting was more about the male and western gaze, and how women have often been portrayed in the arts particularly in paintings. I wanted to reclaim that narrative as a Black woman.
Finally, there is a movie that I've been obsessed with called "Perfect Blue". I just recently discovered it, and I would say it's inspiring my recent works.
Do you have any favourite artists, or have you discovered any lesser known artists in your research we should know about?
During one of my portfolio reviews, one of the reviewers introduced me to Maud Sulter. Unfortunately, she passed away. Maud Sulter was a Scottish - Ghanaian artist and feminist activist.
What is it about those works that draws you to them?
I particularly connect to Maud Sulter’s Zabat (1989) series. In the impression gallery website where they write about her works, the gallery cites: "Sulter declared that she wanted ‘to put Black women back in the center of the frame’. She consistently sought to bring to light histories of those women – real or imagined – whose contribution to culture had been erased. "
I think that was what I was attempting to do with the series "Igbo Woman" where there is hardly any substantial visual reference related to her, I wanted to make something physical as a way of saying “we exist”.
Igbo Woman. Adaeze Ihebom.
Imagining the Self. Ongoing. Adaeze Ihebom.