Haut les mains 2020

Editor: Aboudia's "Haut les mains," created in 2020, uses mixed media to create a powerfully energetic image. It feels almost chaotic, like a visual representation of overwhelming noise. What do you see in this piece? Curator: I see a potent commentary on visibility and vulnerability. Aboudia often depicts the lives of marginalized children in Abidjan. Think about the title – "Hands Up." In the context of contemporary global events, especially the Black Lives Matter movement, the raised hands carry heavy connotations. How does that reading influence your interpretation of the 'chaotic noise'? Editor: It shifts my understanding. The chaos now feels less abstract and more like a reflection of the turbulent environments these children navigate. Are the graffiti elements also part of that context? Curator: Absolutely. Graffiti is often about claiming space, making oneself seen. The layering suggests a palimpsest of voices, a visual representation of overlapping experiences and perhaps even trauma. Consider also the bright, almost aggressive color palette against the figures depicted – what is that trying to convey about societal expectations of youth and perhaps Aboudia’s Ivory Coast community in general? Editor: It highlights the tension between innocence and the harsh realities they face, that need to remain children but are so visible they may also be perceived as adults with everything that entails. I'm beginning to see so many layers of meaning that I didn’t catch at first. Curator: Exactly. Art like this demands that we confront uncomfortable truths and engage in dialogue about power, representation, and lived experience. Editor: I'll never see art the same way again after learning from you! Curator: That’s wonderful! Art history is not a solo act; it’s always evolving through these important dialogues.