Artist and Curator
I am an artist, indigenous healer, and curator from Biafra, currently based in London. As a self-taught artist, my creative practice is rooted in channeling the spiritual and metaphysical realms. Each piece I create serves as a landscape for exploring divinity, with a focus on sacred figures, especially those with brown and black skin, often portrayed through ancient archetypes and deities.
@ArtByAmarachi
My work is deeply personal, reflecting my journey as a disabled African mystic. It is an ongoing exploration of self-love, healing, and identityโa narrative shaped by years of navigating chronic illness, displacement, and the challenges of insecure housing. Art became my sanctuary, a medicine that grounded me during times of uncertainty.
Want an authentic curator to bring a fresh energy to your projects?
I incorporate foraged, dried natural materials into my pieces, using these elements as a bridge between worlds, embodying the sacred and the earthly. This integration of the natural world with my work is a conscious reflection of my belief in the interconnectedness of all things.
๐ง๐ถ๐๐น๐ฒ ๐ผ๐ณ ๐ช๐ผ๐ฟ๐ธ: Fragile Motherland
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๐๐ฎ๐๐ฒ ๐ผ๐ณ ๐๐ผ๐บ๐ฝ๐น๐ฒ๐๐ถ๐ผ๐ป: 23rd May 2022โฃ
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๐ ๐ฒ๐ฑ๐ถ๐ฎ: Sculptureโฃ
๐ง๐ถ๐๐น๐ฒ ๐ผ๐ณ ๐ช๐ผ๐ฟ๐ธ: Fragile Motherland
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๐๐ฎ๐๐ฒ ๐ผ๐ณ ๐๐ผ๐บ๐ฝ๐น๐ฒ๐๐ถ๐ผ๐ป: 23rd May 2022โฃ
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๐ ๐ฒ๐ฑ๐ถ๐ฎ: Sculptureโฃ
"Agatha was Black - Unmasking martyrdom"
Date of Completion: 10th March 2023
Media: 32 x 40 in. on canvas
Materials including but not limited to: acrylic paints, oil paints, chalk pastels, oil pastels, burnt plastic handcuffs, dried wild mushroom, glitter, dried flower essences: yellow and red rose, lily, woolly hegnettle alka lambโs ear, chinese mock orange, daffodil, yellow stonecrop, seaweed from Lime Cay in Jamaica, bourgeon villas, purple blooms, cedar leaves, mimosa tree flowers aka natural pink silk from Jamaica, metallic pen, glitter pens, Amarachiโs menstrual blood
๐๐ฒ๐๐ฐ๐ฟ๐ถ๐ฝ๐๐ถ๐ผ๐ป ๐ผ๐ณ ๐ช๐ผ๐ฟ๐ธ: I often experience body dysmorphic states and this topic is rarely spoken about with compassion in African communities. I grieve often about the fact that African women are the only beings in living human history that have had their reproductive functions systemically enslaved - the wet nurses (then called โsucklersโ) that were forced to nurture white children while their own children were neglected. This form of psychological and reproductive torture takes lifetimes to heal. It is these taboo, post-traumatic portals that I paint with each stroke of the canvas. I confront the lived experience of Black beings raised as girls and how that socialisation still lives in our bodies, affecting our nervous systems, how we relate to our sexuality and right to choose. I have felt comfort from honouring a feminine ancestor (Agatha) who embodied a sacred โnoโ until her last breath. It is easy to feel low self esteem as a violence survivor, especially as an African femme. Painting St. Agatha has given me space to grieve the adultification of young African girls and to celebrate the supernatural resilience that disrupts every torture we face.
๐ง๐ถ๐๐น๐ฒ ๐ผ๐ณ ๐ช๐ผ๐ฟ๐ธ: Remembering Biafra
๐๐ฎ๐๐ฒ ๐ผ๐ณ ๐๐ผ๐บ๐ฝ๐น๐ฒ๐๐ถ๐ผ๐ป: 23rd May 2022โฃ
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๐ ๐ฒ๐ฑ๐ถ๐ฎ: Sculptureโฃ
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๐ ๐ฎ๐๐ฒ๐ฟ๐ถ๐ฎ๐น๐ ๐ถ๐ป๐ฐ๐น๐๐ฑ๐ถ๐ป๐ด ๐ฏ๐๐ ๐ป๐ผ๐ ๐น๐ถ๐บ๐ถ๐๐ฒ๐ฑ ๐๐ผ: A Scrapbook with clippings from the Biafra Newsletter lays flat on a table covered with blue patterned cloth. At the foot of the table are two black and white photos of my parents on a bed of dried flowers and leaves. One photo is a full body image of my mum in a full length tunic/dress whilst the other is a headshot of my dad when young.
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Photo of Amarachi standing smiling in front of a pink wall. 3 of their art pieces are hanging on the wall.
Photo of Amarachi bending down with a piece of foam, using it to play the instrument โรนdรนโ. There is a collection of art pieces and artefacts in front of and around them.