Desire
“My Love is like a wild orchid,” I whispered into her ears, “Her cheeks are as lovely as a garden full of herbs. Her eyes are beautiful as doves; doves washed in milk. Her lips are like ripples on water; and her smile—whitest of all lilies. She is like Jerusalem and all holy cities.”
Fire
Portrait of cyster
Sooner or Later
Alone
Wait
Ready
Caressing her face with my fingers, I continued, “My Love is a secret garden, a walled fortress, a private spring. All women look at her and admire her beauty; queens and concubines sing her praises. I love only one, and she is my only Rose.”
We
Our Life
Distant Hearts
Flirt
Three
Married
She closed her eyes in anticipation; her eyelids flooded with peace. I gazed at her tranquil face, her scarlet-ribbon lips, wanting to untie the knot. I lowered my face over her. There was no lack of aloes and nard, of saffron and cinnamon, or incense of any kind in the fragrance of her skin. I kissed her; her lips tasted like luscious apples, her tongue like juicy pomegranate.
...Excerpt from "Fallen Angels" by RiSH
Faith & Worry
Ji de (Hold)
Faith & Worry -2
Artist Anthonia Nneji
Artist Anthonia Nneji was born and raised in Nigeria, Africa.
Artist Anthonia Nneji comes from a long line of traditional carvers and masquerade carriers. Following the family tradition of artistry, she graduated with a B.A (Hons) in Visual Arts from the University of Lagos, Nigeria in 2016. Known for her bold colors and intricate patterns, her work explores the relationship between trauma and the female body.
Drawing from her experiences in dealing with personal health issues, she confronts a culture of suppression and silence on issues around women’s physical and mental health, body autonomy and sexual harassment in a bid to create safe spaces where conversations could be held freely.
Her recent paintings show women’s bodies in various stages of movement draped with colorful, intricately detailed swathes of print fabric. This preoccupation with body forms and textile material navigates cultural and social meanings of fabric in contemporary African societies while exploring the protective qualities of clothing. Artist Anthonia Nneji uses drapery as a tool of hiding, to represent protection, a safe place.
Her work was been profiled by prolific Nigerian author Chimamanda Adichie in her essay ‘Tonia Nneji The New Guard’ published by Harper’s Bazaar in 2020. Her works were also profiled by Enuma Okoro for Vogue in 2020. In 2018, Artist Anthonia Nneji was awarded the Ronke Ekwensi Fellowship in New Jersey and my works were presented at the FNB Art Joburg in South Africa and Miami Art Basel in Florida, USA in 2019. During the same year, she participated in Rele Arts Foundation’s Young Contemporaries program. In 2020, she also exhibited in the first ever Young Contemporaries Alumni Exhibition at the National Museum, Lagos. Artist Anthonia Nneji is recently a part of the artists selected for the Art Dubai Residency program curated by Johannesburg-based Kabelo Malatsie. We wish her all power and strength to voice her words through her bold colors.
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