Chasing Spirits 2014

Editor: Here we have Aboudia's "Chasing Spirits" from 2014, made with acrylic paint. The palette is so dark, it almost feels oppressive, but then you see the bright figures emerge from the darkness, it's truly striking! What stands out to you about this piece? Curator: The socio-political context of Aboudia's work is crucial here. He painted "Chasing Spirits" in Ivory Coast. This isn't just art; it's a visual record of the struggles faced by children amidst urban chaos and political unrest. Do you see how his art brings their invisible presence into the gallery? Editor: I see how the rawness almost screams with a particular intensity! But what's with the recurring motifs – those childlike figures, the crosses? Curator: Precisely. Those childlike figures? He calls them 'Nouchi'. They represent street children of Abidjan, and the symbols, like the crosses, can allude to both protection and the marks left by conflict on a vulnerable population. Aboudia’s distinct style blurs the lines between the street and fine art! He puts it inside of museums, like this one. How might showing it affect social views of similar subjects and their environment? Editor: It forces you to see these marginalized kids, their hardships, in a fine art space that’s usually exclusive. I guess it is making them, their life, the life that surrounded them, the centerpiece. Curator: Exactly! Aboudia turns the art world's gaze onto the disenfranchised. Editor: I hadn't thought of that. I appreciate how the "ugly" acrylic brings it more in tune with those living conditions too. It is cool how social statement can be so deeply connected with his materials. It provides context. Curator: Art serves as more than something pretty to look at.