Female African Artist


Chakaia Booker

Country: United States

Style: Expressionist Sculpture

Medium: Rubber tires, metal and wood

Fun Fact: Booker builds her free-standing and wall-mounted sculptures by looping and layering carefully cut sections of tires and rubber tubes onto wood and steel armatures, making sure that the understructure is rarely visible. Drawing on her roots in textile art, she sometimes adapts weaving and tufting techniques to the rubber


“I do get up each morning and begin my day sculpting myself,” Booker said. “It’s not that it’s a mirroring of exactly what I do (as an artist), but it is about coming to the creative moment right off the start.

"And it starts with me and making my own statement and having my own voice before I get to the studio to continue doing what I do.”

Read more: Chakaia Booker: A tireless sculptor - The Denver Post http://www.denverpost.com/ci_16389890#ixzz2wRmcc9HD
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1. The Fatality of Hope,

2. “Meeting Ends,

3. Repugnant Rapunzel (let down your hair)





Peju Alatise

Country: Nigeria

Style: Contemporary

Medium: Cloth and Canvas

Fun Fact: With a strong focus on the significance and power of womanhood, Peju uses clothing in her art as a literal and metaphorical representation of humans. She hopes that the resulting sense of emptiness gives the audience a moment of inflection, and an incentive to question prefabricated beliefs.

Quote:  ‘the entire show is a dramatisation of fantasy, beliefs and fables. An extremely important aspect of Wrapture is Folklore. Olurombi is a Yoruba folklore story that has stopped being told and has been replaced by stories of Cinderella or dwarves. My presentation of ‘The Rapture of Olurombi’s Daughter’ is a response to the hypocritical assumptions of what stories the African child should learn with. We as a people have denied ourselves and the world the benefit of our own stories. This self-denial is taught at the earliest state of intellectual maturity to ensure there is an elimination of self-worth. 'The Rapture of Olurombi’s Daughter’ is a piece which captures the exact moment when she is raptured and all that remains of her is her essence.’


Florence Wangui

Country: Kenya

Style: Realism

Medium: Charcoal on Paper, Oil on Canvas

Fun Fact: Third Prize Winner of Kenya’s Manjano in 2013

Quote: “I didn’t show anyone my sketch book until, late 2011, when I met Patrick Mukabi and told him I wanted to become a great artist and I’d appreciate his help,” “My mother was very strict and made us stay indoors while she went to work, so that’s when I had time to draw.”







Elsa Gebreyesus

Country: Eritrea (via Ethiopia, Kenya and US)

Style: Abstract

Medium: Acrylic and Mixed Media

Fun Fact: 

Elsa Gebreyesus lived in Ethiopia, Kenya, and United States before going on to receive her BA from Brock University in Ontario, Canada. After Eritrea won its independence from Ethiopia, she lived there for five years, working as a Project Officer with an indigenous women’s organization.  After leaving Eritrea, she came to the U. S. where she’s been pursuing her career and her lifelong passion for art. In addition to her work and art, she also volunteers with organizations involved with human rights issues especially in Africa. She continues to learn from artists she admires and has been greatly influenced by modernist painters from both Africa and the West.

Quote: Each of my paintings starts with a loose sketch, landscape or object and is built up with layer upon layer of paint. Often it will be in a state of chaos before the process of adding and subtracting begins. I do not start with an end in mind when I begin a painting, instead the challenge is to find the end. This process to me is a type of meditation – an intimate conversation between the materials and myself.

I am drawn to abstract compositions because they require us to stop and reflect, to ask questions. Abstract art is also open to multiple interpretations. Each viewer will bring his or her own experiences into play as they contemplate the work.


1.Toward the Horizon

2. Untitled

3.  Silenced II

4. Looking for Spring

5.  Cape Fuscia

6. In The Beginning

7. The Texture of Sound II

See more at http://www.elsabet.com/


Elizabeth Alice Catlett Mora aka Elizabeth Catlett

Country: United States/Mexico

Style: Printmaking/Sculpture/Lithography


Fun Fact: Her father, who died when Catlett was young, was a respected mathematics professor at Tuskegee Institute, where Booker T. Washington and George Carver taught years earlier. Having been denied admission to the Carnegie Institute because she was African American, Catlett attended Howard University and later earned a Master of Fine Art degree at the University of Iowa.


External image
“Art is only important to the extent that it aids in the liberation of our people.”


1. I have special reservations

2. Civil Rights Congress

3. Sharecropper

4. A Special Fear for my Loved Ones

5 Harriet


Samella Sanders Lewis aka Samella Lewis

Country: United States

Style: Lithography

Medium: Lithograph Crayon on Paper, Oil on Canvas

Fun Fact: Artist and art historian Samella Lewis recalls the Louisiana of her youth. She recalls being frightened by the mayhem of Mardi Gras and perplexed why the black Mardi Gras clubs called themselves ‘Zulus’. Lewis further describes her youhtful rebellion against the segregation and racism of New Orleans. She also describes the source of friction between blacks, creoles and cajuns.

She was the Apprentice of Elizabeth Catlett

Quote: “I fight against segregation, discrimination, racism, brutality and depravity because these things deny people their rights as human beings,” Lewis asserted. “I feel everyone should be liberated from excessive brutality and situations confining them to a discouraging and demeaning place in life.”


1. Field Hands

2. Home Sweet Home

3. Couple


5.I see You


Agnes Nyanhongo

Country: Zimbabwe

Style: Figurative Sculpture

Medium; Stone

Fun Fact: Agnes is the daughter of the well known sculptor, Claud Nyanhongo, and as a child spent a great deal of time helping him with the polishing of his work. The sensitivity with which Agnes expresses her ideas and the respect for the material that is so apparent in her work could arguably have resulted from these early formative experiences.

Agnes Nyanhongo began sculpting full time at an early age and in 1983 embarked on a three-year course at the B.A.T. Workshops in Harare, where she was considered to be one of the most promising students. Her quiet determination and belief in her work have carried it along a purposeful and individual path and have now earned her international acclaim and many awards.

Agnes works quite extensively with the human form, sometimes specifically with female issues, but always expressing a calm and watchful strength that seems so true to her own personality and character. Her inspiration is often derived from the stone itself, but much of her work depicts the natural world around her; making close observations, but ultimately working from her own mental images of the subject. However, it is with traditional Shona myths that she has become increasingly involved. Not only does she feel that these have great relevance now, but she believes, as a sculptor, she has a responsibility in keeping them alive. 

Quote: My work carries a message of how I feel, and what I would 

like to say, not only to women, but to people

all over the world.


1. Ascension

2. Welcome Home Baby

3. Graceful Pride

4. Serenity in Youth

5. Proud of her Future


Emily Adhiambo Odongo aka Emily Odongo

Country: Kenya

Style:Abstract/ Expressionist

Medium: Acrylic on Canvas

Fun Fact:



1. City Rhthyms

2. Racecourse 111

3. Blue Falls

4. Rupture


Betye Irene Saar aka Betye Saar

Country: United States

Style: Assemblage Art

Medium: Mixed Media

Fun Fact:

Betye Saar is an assemblage artist who calls herself a conjurer, a recycler.

In a way, her own heritage is a collage: African, Irish, American Indian.

Born in Los Angeles back in 1926, Saar still lives in the hills above the city in a huge grey-shingled house.

Leading up to her front door are terraced gardens, filled with colored tiles, pots and carefully arranged objects.

Quote: As an artist everything I do has this thing, assembling things. assembling plants and sculptures and lanterns rocks and so forth,


1. Eye of the Beholder

2. Green Vision at the Villa

3. The Long Memory

4. Search of Solitude

5. Survival of the Spirit


Maria Magdalena Laubser, known as Maggie Laubser

Country: Republic of South Africa

Style: Portraiture/ Realism/ Figurative/ Expressionism

Medium: Oil on Canvas, Oil on Board, Charcoal

Fun Fact: Maggie Laubser’s expressionistic paintings do not attempt to portray reality. They should always be appreciated as a personal expression of her unique view of the harmony of colours and forms in, as she called it, ‘the miracle of creation’. Her paintings have often been criticised for being naïve and childlike, but these critics miss the spiritual undertone of her work, where she strives to celebrate and praise the harmonious qualities of the Earth, and all life on it, under a benevolent Creator

Quote:  ‘The privilege of bearing witness to these things in my simple way deeply satisfies me’


1. Self Portrait

2. Colored Girl Wearing Purple Scarf

3.  Sketch

4. Portrait of a Girl with Geese


6. Innocence

7. Mother and Child


Safaa Eruas

Country: Morocco

Style: minimalist

Medium: Metallic wire and japanese paper on cotton paper, Thorns

Fun Fact:A simplistic categorization would be to describe hers as a feminine art, since the materials she employs refer to a world that remains decidedly female in the Maghreb: textiles, sewing, weaving and all the banal and blunt objects which women manipulate daily. Ought we not question this bait thrust at our emotions? Indeed, the forcefulness that exudes from Erruas’ paintings and installations challenges this notion and we find that it balances on the fragile frontier that outlines us all, men and women and the time we are allotted in the days of our lives.

Quote: To understand this work is to retrieve, as the artist does, a retinal memory of matte limewash on the medinas of northern Morocco, walls of thick and crackled whiteness which the eye slips over happily while the hand is caught by the roughness. Here is a women’s world, a world of silence at the vital center of the house. During the sewing hours the domestic enclosure is a soft cocoon of clean sheets which are stitched, patched, remodeled; all a strange oxymoron for the gentle ambience in which scissor tips, crochets hooks, sewing needles and razor blades do their piercing work.


1.Elatérium I

2. Elatérium II

3. L’œuvre grise

4. On my skin

5. On My Skin