Flash is required to view this website.

View: Desktop (Flash) | SEO (Text)

K.Yoland. M

Home

DECEMBER 2009

January 2010

*February

"The Goodbye Dream" currently at Kris Graves Gallery, group show "Sultry", New York, July-August.

+ Hard Toys = POW !&?

*

Photography

Photographic series:

Look Closer - Part 1

Photography and video - Commissioned by Tricycle Arts
Solo exhibition in 2 parts at The Tricycle, Kilburn.

For more information on this exhibition please click here to go to the Gallery's website.

Selected images from the series:

Exhibition :
Look Closer - Part 1 : 12 Nov - 11 Dec
Look Closer - Part 2 : 13 Nov - 15 Jan
Tricycle Gallery, Kilburn, London

Look Closer - Part 2

For more information on this exhibition please click here to go to the Gallery's website.

Selected images from the series:

Exhibition contained a series of 30 disected photographs, which were scattered high and low accross the gallery walls.

All our body bags

Selected images from the series:

Looking at the surface as a means to disclose or disguise identity. Simultaneously a means of protection and representiaion, the materials covering the body could provoke a judgement on the body and individual.

Although the colourful and patterned materials change in each photograph, the person remains the same and thus constant in each image. Presented differently each time, the wrapping conjures questions of social stigmas and assumptions. The invisible or visible restraints on self-identity is also a factor.

The wrapping is both a revealing and disguising of a person: A form of hiding yet presenting. Race, sexuality, gender, age and religion remain purposefully ambigous and opaque most of the time.

We were here

Selected images from the series:

The images are taken in schools K.Yoland attended as a child. Revisiting these spaces she asked different girls of the appropriate age to take her place.

Shooting when the schools were empty; either during the holidays or weekends, the spaces were often undergoing construction, deliveries or even demolition. Shot wide, the spaces are vast and empty. The girls stand or sit with confidence whilst they look at the camera or environment with direct engagement.

Almost ghost-like, one or two girls are often shown in a space made for many (even hundreds). Whether in playgrounds, on stages or just rooms filled with chairs, the locations hint at a larger populace and specific activities or events. Alone yet at ease, the girls stand out as separate from their environment and insititutions.

Yakuba

Selected images from the series:

Photographs of a brother and sister living far from their home country of Mali. The former lives in a large space on the outskirts (Banlieues) of Paris and the latter in an apartment block in the Bronx (NYC).

Currently only the photographs of the brother can be seen on this website.

The work engages with the environments as living breathing spaces as well as the two siblings.

Although the two homes/lives in Paris and NYC are very different and the brother and sister have not seen each other in years, theirs faces are undeniably simmilar and they look at the camera with the same knowing stare.

In one's place

Selected images from the series:

Placing people in spaces which in part match the colours of their clothes, this series explores the theme of camouflage vis-a-vis the individual's relationship to their environment (whether it is a visible-physical shift or an invisible-psychological transformation from one state to another). The potential to become comfortably part of the space one encompasses is considered as well as someone needing or being forced to blend in.

Layers

Selected images from the series:

In 'Layers' portraiture is a means to look at our relationship to the 'other' both in private and public terms. Pushing the understanding of the 'other' as both distinct and confused signs of the 'inner' and 'outer' - the person may be concealed sometimes even to themselves.

As a series of self-portraits this work also investigates the role of perspective: In this case the photographer is both the object and the viewer.

In this work the act of concealment suggests multiple interpretations: It coud be a need to disguise someone dangerous or likewise protect someone fragile. It could be a means to attract the eye or a means to control our understanding of the subject. Is this person part of our group or outside our group?

Balancing on the edge, with no way to see the viewer, does this person/creature choose this position or has the photographer chosen it instead? (But then here the photographer is the subject - which complicates the issue further in terms of self-awareness, self-erasure and self-control).

Mixing the 'real' with 'representation' and the 'human' with the 'imaginary creature' this work might be both funny and uncomfortable. Both hidden and conspicuous, these portraits continue K Yoland's investigation of identity, environment and power relations in our society.

Following Orders

Selected images from the series:

Following Orders

This series started by considering the cushions as people and then how people might be treated as inanimate objects. Controlled, arranged, 'played with' and potentially abused. These cushions also resemble the shape and size of a punch bag.

Invisible Angels

Selected images from the series:

Shot on the Heygate Estate in Elephant & Castle, London. The site is soon to be demolished and has been subject to much controversy including poverty and crime. It is now empty and awaiting erasure.

The 4 young men are aged 17-20 years and wear domestic temporary materials: bin liners, tin foil, cling film, news paper and shopping bags. They are at ease in their strange clothes and decaying environment. They are confident and dignified without aggression or threat.

In each photo the young men are placed either in groups, pairs or on their own. They stare at the camera or far into the distance. Sometimes the artificial nature of their arrangement suggests that they are a product like a fashion-shoot or boy-band. Although young groups of men standing on urban streets our potentially descibed in terms of “gangs”, “youth” and “masculinity” these refereces also become transcient products of our society and media rather than necessary truths or reality.

The architecture has the typical towering, vast, concrete and grey features associated with estates. Shot in many different corners and roads on the estate the maze of this residential land is also explored.
The spaces are empty except for on two occasions when a family push a pram in the far distance and when 2 police man look at the young men wearing blue bin liners which seem to have wings.

No more heroes

No More Heroes

Selected images from the series:

Photographic series with several masked individuals wearing the same 3 costumes across New York City. Currently this site only shows one of the individuals. (More information coming soon.)

Photo performance - New York

The A dream

Selected images from the series:

The A Dream

Pictures taken with people met on the streets of NYC. Each person has one photograph with their eyes open and one with their eyes closed.

One question was also asked of each adult and child: "What is a dream you have or had?"

(This site only shows a small selection of the portraits taken)

Concealment

Selected images from the series:

Age of X Y and Z

The Age of X, Y and Z

Several locations were chosen across London to encompass varied architectural aspects of this large city. The particular environments selected, help signify the financial, urban, social and historical arteries of the city (acknowledging land, air and water).

The same 2 girls are photographed in each environment. Separate from current teenage fashion, their clothes change depending on the environment but they remain similar to each other in any given space. In every situation they peacefully observe the camera, their objects or the distance. The objects and the position of the bodies link the spaces and the individuals. Their mannerisms, actions and eyes always contain a knowing exploration of what has been put in their path or in their hand.

Selected images from the series:

Performance/Video

Performance: Live, Video or as Installation

Faites Votre Choix

Press Release:

Faites Votre Choix
Performance, Paris, 2011

Simultaneoulsy ridiculous and sinister, this performance looks at Western popular culture alongside the Western Military involvement in Iraq and Afghanistan over the last decade. Both the contrast and the links between entertainment and current affairs makes it uncomfortable to “live” with these two realities side by side.

During the performance K.Yoland plays with the connotations surrounding the superhero persona. Suspended between fantasy and reality, superhero narratives usually concern “good” fighting “evil”, which mirrors the political terminology and rhetoric used by politicians discussing terrorism, Iraq and Afghanistan.

The performance for Paris only involves 1 performer. The person is placed between two television monitors and two mirrors. The video on the screen rapidly intercuts between popular culture and televised war reports. The video is a hypnotic and sinister juxtaposition of Western entertainment with Western foreign policy. In a society, which is preoccupied with creating varied entertainment and heightened stimulation, it seems that televised war is the only quiet reminder that what lies outside also relates to our world.

Pick and Mix

----> Multi-media performance
Danish Academy of Fine Art,
Copenhagen, April 2010

----> 3 hour event involving 3 dancers
3 projection screens
1 monitor

----> Credits:

Dancers:
Malin Sandberg
Stisa Sogaard Jensen
Jan Strobech

U.K Media Technician: Ben Wisely
With support from Studio-Seventeen, London
U.K Image Consultation: Mike Stallard

< Click here for installation excerpts >

Performance with 3 dancers placed inside a three-hour video installation. Investigating the Western relationship to war through media providers. Focuses on the most recent invasion/occupation of Iraq. Explores what kind of feelings of emotional involvement and responsibility one has at great distances.

Pick & Mix

Babbling in the Tower

Installation and Live Performance: Part 2 shown at Elysium Gallery, Wales, 2010

The work investigates 2 fictional characters (Evelyn and Adrian,) who are trapped in a white room and are forced to face themselves and each other. This installation literally dissects the dialogue between 2 estranged people and explores their struggle to communicate their feelings.

1) Each line of dialogue is on a separate piece of paper. Each page is stuck loosely (but securely) on the wall.
A fan stands in the room turning 180 degrees and blowing the pages repeatedly. In the same space, lit by naked bulbs, are photographs of 4 spaces - a supermarket, forrest, motorway and white room with two white
tables and chairs.

2) Two white tables and chairs: On each table there is either Evelyn or Adrian’s dialogue printed in separate white books. Each book contains only the lines of one person, however, in the case of Adrian he will have 4 books connected by a chain: his book and that of his three alter egos Thomas, Anna and David. (See diagram in images above)

Babbling in the Tower

You & I

Performance & Photography - Paris

Examples from site specific work involving K Yoland taking 21+ different jobs in Paris.
Jobs include: Butchers, mechanics, pizza van, hairdresser, guitar shop, record shop, bakers, vegetable market, flea market, antique store, tailors, bar, deli, flower shop, newstand, fairground, factory, second-hand book shop, hardware store and fishmongers.

You and I

Split in Three

Three individuals are observed as they move about during one day. Whilst one lives on the streets of Paris, another lives in an airy Parisian apartment and the third is far away in a stone cottage in the south of France. Their environments and actions are different but they all appear solitary and isolated from community and human contact.

Using several screens which appear and disappear, the number of shots visible at any one time constantly varies. The perspective and the framing of each person alters throughout.

Split in Three

Examples from video:

Conceived as a multi screen video installation

To Have and To Have Not

Performance & video projection - Berlin & Paris

Moving through a building that awaits demolition, text is overlaid onto the video. The text conjugates the verb 'to have' and occasionally negates it.

The video was projected onto the floor of a dis-used factory in Berlin, which was filled with scaffolding made by the artist Dagmar Glausnitzer (who was sharing the gallery space).
K.Yoland walked around the perimeter of the projected video, wrapping chairs in black bin bags and sticking notes onto them stating: ‘Reserved for others’. She then proceeded to wrap the surrounding scaffolding with construction "no-entry" tape. When the audience was sufficiently shut out of the video space by a web of tape, the K.Yoland started to zigzag the tape over and across the projection untill it became a web of red/white lines. Finally, she wraps herself in bin bags taping herself into the space. During the final stages of the performance 4 other performers appear amongst the audience and conjugate the verb to have in French, Spanish, German and Chinese.

To Have and To Have Not

Whiter than White

Video & Performance - London

Edited into 2 versions, a caucasian woman paints her face white behind a picture frame and then steps out of the frame.
In version 1 the movement is fast and fragmented and the footage moves forward and backwards as if the film is dj-ed on a turntable.
In version 2 the action is very slow and moves linearly from beginnning to end in real time.

Whiter than White

Frame the Punch

Video & Performance - London & Belgrade

A punchbag appears behind an ornate picture frame and remains still until a man arrives and starts talking to it. The man quickly becomes angry and starts shouting at the punch bag eventually picking a fight with it. The man's violent action against a defenseless inanimate object is senseless but the event is framed beautifully by the picture frame until the facade falls away and the action is frozen.

Frame the Punch

Ghost town

Video & Performance - Essex - Projection for Performance - Berlin

When industries die in small towns the community is often left with no means to survive. Like ghost towns these areas are filled with disenfranchised and unemployed citizens who struggle to survive or somehow must move or disappear.
In Ghost Town' two individuals are seen alone: one drags a door everywhere and the other watches a hessian torso burning. As boats pass slowly by and abandoned buildings stand silent, there is a sense of abandonment of these once busy communities.

Ghost Town

All Our Fingerprints

A man sticks photocopies of fingerprints onto a wall whilst fellow New Yorkers walk past appearing not to notice. Bitterly cold and windy, an emergency ladder sways above the man but never reaches the pavement.

Accompanying audio mixes the ambient street sounds with a speech by the then President Bush talking at a Republican fundraiser in Florida.

Performance & Video - New York

All Our Fingerprints

Control

"Billy-Bee is a casting agent employed by Traumwand to cast for a new reality TV show - big brother in a cabin on the side of the Austrian mountains without electricity, bathroom or shops."

Performance with 6 participants following 'audition' instructions, which are handed out at the start of the piece by a casting agent.
> Each participant is instructed to do a series of actions, which are not disclosed to the others.
> Each person's instructions impinge on the other particpants and interrupt or change Billy-Bee's seminar on the topic of "Control".

Performance - Austria

Dirty Water

Performance in which a K.Yoland attempts to auction contaminated/tampered water for extortionate prices. Wearing all black with matching gloves, the performance is perhaps comparable to a magic trick. She keeps moving the glasses around the table, pouring water in and out of the jug and between glasses. Each is filled with water from the other glasses. Their order is often changed. During this choreography of pouring water and moving glasses, K.Yoland keeps adding black liquid from a small unlabeled bottle. The black liquid is sometimes added to one glass and sometimes added to all the water in the jug.
The constant movement and apearance of a system is confusing for the viewer's eye which instintively searches for a pattern or logic ( - like one does with a magic trick - ) to assertain the cleanest/dirtiest drink.
The water starts off in the jug as clear and supposedly clean. It finally returns to the jug opaque and black.
What is the liquid?
Is the water clean at the start or at the end?
Why would we buy water if it is contaminated?
At the inflated prices the woman offers the viewer, why are we supposedly so desperate that we might accept?

Performance - London

Dirty Water

Introduction to Government

Video performance in which a headless performer gestures to the viewer in repetitive ways in order to introduce themselves and their environment without words or common language. The viewer is constantly invited to join the performer's space.

Video performance - New York

Introduction to Government

Battleships: Small war games

Performance - London

Interactive performance with 1 long table and 2 chairs at either end. K.Yoland is permanently seated at the far end of the table and at the other end there is a chair available for individuals to participate. Another series of chairs, which remain empty, line the walls of the large room surrounding the performance like an invisible audience. Bach Harpsichord music plays very loud from all four corners of the space. During the performance individuals enter one at a time to play the game 'Battleships’ with K.Yoland, who is dressed entirely in black and veiled. With written instructions the participants are informed that the performer will only use two types of hand signals to communicate. They can attack the performer's boats by calling out co-ordinates but the performer will never retaliate. Participants are forced to shout because the music is very loud and the performer has trouble hearing them. When the participants have bombed all the boats the game is over and K.Yoland waits for them to leave and a new particpant to enter.

Battleships: Small war games

We don't choose the chairs

Installation with sound, video and steel walls 8' x 12' forming a corner. Inside are two video projections. One video is entirely blue, the other entirely red except for the black silhouette of a figure balancing and navigating chairs around a space. In the blue space the figure has two tall and round chairs made of metal. They could roll and be balanced on. In the red space the figure has a wooden chair with one faulty leg, which eventually breaks off. The figure must become the chair’s fourth leg to use it.
Accompanying the video is audio which amplifies the sound of chairs moving across the floor.
The steel exterior of the corner was illuminated by bare low-watt bulbs, which hung at head height. Inside the corner the floor was painted with black gloss, which allowed the video images to reflect into it. The reflections allowed the red and blue videos to bleed into each other. One small square was cut out of the floor directly opposite the corner where the 2 walls joined. In the cut out space a viewer could stand and be silhouetted into both screens.

Installation - London

We don't choose the chairs we're born with

Change is in the air

Change is in the air / To be is to fit

Video performance - Shot in London shops

Walking into busy commercial shops with large changing rooms and loud pop-music, K Yoland tried on as many clothes as possible whilst performing to a hidden camera which never included her head or feet. The movement explores the act of arranging and dressing the torsoe in clothes with straps, ties, belts, buttons, layers, which in turn secure, wrap, contain and advertise the body.

"To be is to fit" - This is the second performance video shot in large shops. Unlike "Change is in the air" it is edited with various other images and shoppers.

Here goes nothing

Single individuals arrive at busy city or tourist locations and slowly wrap their heads in bandages taken from first aid kits.
Once finished they sit for some time before they stand and leave the area still bandaged.

Here goes nothing...

Out side performances in public without arranged audience - Central London

Group Surgery

Performance with Triple Video projections and 8 performers

8 performers in white lab coats walk through the audience and towards hospital tables with surgical instruments. They slowly bandage the heads of eachother and themselves until they cannot see or move easily.

The three walls surrounding the performance space show three different projections of the same woman vanishing or appearing as the exposure levels change on the videos. Fading to black or burning out to white the woman's face keeps materialising or being effaced in different stages of concealment. Occasionally the woman's image is intercut with objects and abstract patterns which resemble the brain or bodily organs.

Montony of Ages

1 actor, 2 dancers, 1 pianist with prepared piano and 1 electronic musician

3 Performers push a grand piano and pianist onto a dark stage. When they reach the center a square light appears over the 4 black suited and masked performers. They continue to push the piano to the front of the stage. The piano and pianist lower into the orchestra pit and the pianist continues to watch the other 3 via a live feed and monitor. The pianist's improvised playing responds to the movement and speed of the 3 performers on stage. The piano is also sampled by an electronic musician who manipulates the live feed to deliver a mechanical sound output.

Each performer has a repetitive action: As the actions speed up the performers' paths cross more often. Tension grows between the performers and they attempt to disrupt each others' routines.

Performer 1 - Enters stage right with a glass of wine. Downs the glass whilst watching the audience. Exits stage left. Re-enters stage right repeating action with new glass.

Performer 2 - Drags a chair piled with newspapers across the stage from left to right. Tied to the chair the performer always enters SL and exits SR.

Performer 3 - Paints the white back wall black. A video projection covers part of the wall (a video of a white woman painting herself white behind a picture frame,) and the performer paints this black as well.

Montony of Ages

Performance with video - London

Mixed Media/Text

Installations:

X Steps Removed

On the left are 12 example images from the photo series and video.

This project sources one single image from the BBC website reporting on the Gaza War, which was a 3 week armed conflict in the Gaza Strip and Southern Israel, December 2008 - January 2009.

The original photo shows two boys walking amidst the rubble of Gaza carrying a sagging object. One of the boys appears to be looking into the eyes of the camera and thus at the viewer. The photo depicts the aftermath of violence without being a ‘direct’ image of violence in action.

The original image has been altered with incremental steps until it disappears. No single image appears different if compared to the previous or subsequent image, but step by step the image of the boys are effaced till they become abstract shapes and finally a grey square. The process of gradual changes slowly creates a ‘distance’ between subject and viewer. As the boys disappear, so does our understanding of their story.

This series consists of several hundred images. An accompanying silent video flashes the changing images onto a black insert, each separated by a ten second count down (marked by flashing numbers 10 to 1 and one white insert in place of zero - resembling an explosion).

Although numbers reported vary (and are constested by the Israeli Army) it has been calculated (by those including Israeli human rights groups) that the conflict resulted in between 1,166 and 1,417 Palestinian deaths and 13 Israeli deaths.

X Steps Removed

Anyone got a cigarette?

Anyone got a cigarette?

Excerpts:

Photo and text series.

The photos are sourced from prominent new-sites reporting on the Iraq invasion in 2003. Enlarged considerably and blurred, the details of each photo dissolves and the image becomes abstract. Each is accompanied by a date and a sentence, which is either a question or statement. The photo and text together form one image, which is poster size in order to resemble film posters seen at bus stops or tube platforms.

During the early days of the invasion of Iraq, critics likened the journalistic presentation of events to action movies with reports often reduced to tag lines and catch phrases. Likewise, the text in this series is made to subtly imitate advertising slogans, which normally allure shoppers and promote lifestyle dreams. The text is sourced and adapted from news reports, which accompanied the original photos.

Accompanied by the text, the photos require questioning yet refuse to provide answers. The camera is often far away from the action/subject and thus blurring the photos enhances the feeling that the viewer is too far away to see what is really happening and judge the ‘truth’ behind each event.

Parallel News

Clothes - fashion designer Akosua Afriyie-Kumi

Parallel News

Excerpts:

Diary for Sept 2008 - Sept 2009, consisting of photographs documenting K Yoland's day/journey. Accompanying each image 3 words relating to that day are placed beside headlines from international newspapers.

The world's gone mad

Excerpts:

Don't want to talk about it? New service sells missed calls

Titles from newspaper articles were used to create one-page scripts which would take place outside this world's reality or context: A parrallel world goverened by a different set of relationsips. With its own unique set of scientific truths and social/political rhetoric it is a world as mad as ours yet different.

In the Untitled - Lying the truth

Excerpts:

Excerpts from an unknown author whose diary is made up of notes on the backs of scraps of paper, envelopes, tickets and napkins. The box in which they were found was entitled "Was my life a lie?". The diary makes claims to events which are never entirely true.

Fragments

........"You're driving too fast".....

........"You didn't answer my question last night"....

..."Did you see his face?"......

.....It was said thet "Theres nothing like a good old war to boost the economy ....... and to tear out the hearts?

Coming soon:

.....It was said thet "There's nothing like a good old war to boost the economy" ................................................................... but what is good for tearing out hearts?

Everything I lost is now -

Everything I lost is now sold down the road -

English newsagents and 'One-pound-shops' have been long known for using neon cards to advertise basic and cheap products for sale. This project uses the same medium to advertise all the objects and belongings K Yoland has lost. (There are a considerable number but this site can only be damned to show a small selection).

The lost objects have real memories, stories or histories attached to them because of the circumstances, context or geography. It is funny or sad that the garish colours, messy handwriting and nonchalant descriptions of these lost items take little of this into account.

Instead sound, on headphones, accompanies the cards - giving where appropriate - a description of how, why, where or the consequences of loosing those objects.

Examples from video:

Conceived as an installation of cards suspended above white spot lit plinths with sound on headphones.

Advertising the Truth

Conceived as an installation presenting postcards sent to K.Moyse over the summer of 2008.
Each sender wrote 2 postcards, recounting an event or making a statement. One card was true and one was false.

Installation concept: The postcards are all printed to poster scale and wallpaper an entire room. The original cards are suspended from the ceiling. A formal bureaucratic form is handed to each viewer on entering the room. The viewer is able to tick true, false, both or neither against each numbered postcard. The forms are then hung in the space amidst the postcards.

Images above are a small selection of the cards sent.

Thank you L.Costantini and all writers.

Excerpts:

Advertising the Truth

About

Acknowledgments:

Invisible Angels
Ruebin
Sumit
Steve
Francis
Camera assistant Andy

Age of A,Y and Z
Hannah
Rojin

For enquiries or CV please go to contact page and request information directly

Recent Work:
__________________________________________________________

Current 2012:
> Acme Artist residency, 18 months, London.

Past 2011:
> CGP London, All Is Not Lost, Group show, September 18 - October 20, London.
> Rohde Contemporary, Copenhagen Photo Festival, Artist+Artist, Photo Festival, Group show, June 9 - August 5, Copenhagen.
> Acme Project Space, RCA Inspire, Group show, June 9 - 26, London.
> Center for Book Arts & off site performances, Food in Mind, Group show, April 13 - June 25, New York.
> Le Lieu, Pick&Mix - Faites Votre Choix, live performance with video, May 15 & 16, Paris.
> Tricyle Gallery - Solo show, Look Closer: Part 2, January,
London.
__________________________________________________________

2010:
> Tricyle Gallery - Solo show, Look Closer: Part 1, November-December, London.
> Acme Artist residency, London.
> Kris Graves Gallery - Sultry, Group Show, July-August, New York.
> Rohde Contemporary - Group Show, in conjunction with 'Copenhagen Photo Festival', May, Copenhagen.
> Courtauld Institute - All our body bags and We were here, photography, Group show, Somerset house, January 2010 -June 2011, London.
> Danish Academy of Fine Arts - Pick and Mix, multi media performance, Group show, Transit Station, April, Copenhagen.
> The Elysium Gallery - Babbling in the Tower, text and photography installation, Group show, Dialogues: A Fake Romance? February, Swansea.
__________________________________________________________

From the installation "Advertising the Truth"

Website Credits (Alphabetical):

Advertising the Truth
With thanks to L.Costantini
and all writers

Age of X, Y and Z
Rojin Tasman
Hannah Williams

All our Body Bags
Ruby-Blu

Dress Code: No More Shirts
Model: Ruebin Martin

The Goodbye Dream
Model: Debbie Spink.

Hard Toys
Special Thanks to Mathew Bikerton, Tyrone Eccles-James, Debbie Spink and all involved.

Invisible Angels
Stylist: Debbie Spink
Camera assistant: Andy Laas
Stylist Assistant: Tyrone

Layers
Camera assistant: Elie Colistro

Pick & Mix
Dancers - Malin Sandberg, Stisa Sogaard Jensen and Jan Strobech
U.K Media Technician - Ben Wisely
U.K Image Support Mike Stallard

Punked
Models: , Sam Butterly, Michelle Coverley, Dora Diamont and Chloe Wade

Scramble for Africa
Designer: Akosua Afriyie Kumi
Art director: Debbie Spink
Producer: New Black Productions
Camera assistant: Andy Laas

Selected images from the series:

Punked

Designer: Akosua Afriyie Kumi - Collection "Scramble for Africa"
Produced with New Black Productions, 2009
Link to fashion video: http://www.onoff.tv/seasons/sept09/shorts.html

Scramble for Africa

Selected images from the series:

Apart from the Real

Selected images from the series:

Contact

Fields of Gold (Documentary - Long Version 20 mins)
Fields of Gold (Documentary - Short Version 6 mins)
Revolution (Short Film)
Scramble for Africa (Fashion Video)
Pick & Mix (Video Installation, Denmark)

Video Links:

Video Clips:

To be is to fit

Video Clips:

Video Links:

Video (directed, shot and edited) by K Moyse.
Music by S Waller.

Split in 3

Video Links:

Video Clips:

Video (directed, shot and edited) by K Moyse.

Frame the punch

Video Links:

Video Clips:

Video (directed, shot and edited) by K Moyse.

Whiter than white

Video Links:

Video Clips:

Video (directed, shot and edited) by K Moyse.

*

Designer: Akosua Afriyie Kumi - Collection "Scramble for Africa"
Produced with New Black Productions, 2009
Link to fashion video: http://www.onoff.tv/seasons/sept09/shorts.html