This essay examines how an object-based gaze shapes our understanding of work through force as imposition. By internalizing this gaze, we objectify ourselves and others. Reframing force as expression reveals work as inherent movement—an expressive unfolding of being—transforming how we relate to ourselves, one another, and the world.
A meditation on breath, word, and manifestation — exploring how spirit becomes form through the instantaneous movement of thinking as divine action. The essay traces breath as the source of word, word as flesh, and listening as the sacred bridge where separation dissolves and presence reveals itself as life.
What is abundance?
Let’s start with breath — this primordial rhythm.
No one can say they know its origin no matter how much they attempt to measure it.
This meditative poetry-essay introduces, for the first time, the concept of the ahistorical figure and argues that transdisciplinarity is the disposition through which this figure moves—unbound by identification, narrative, or borders. It offers a poetic, philosophical critique of history and a vision of the bird that learns to fly without perching.
In Ìhè wụ Íhé, I contemplate the photograph not as a fixed image or an object to be consumed, but as a trace—a residue of the presencing of light. The phrase Ìhè wụ Ìhè, which I coined in Igbo, speaks to a profound ontological insight: light is thing.
We stand at a crossroad in the evolution of being—between the self inscribed in symbols of chronological time and the vast, pathless flow of relation. Difference is not a distortion or speration from essence of being, but the unfolding of the singular into plural, one into many. Igbo wisdom reminds us: ‘Where one thing stands, another stands beside it.’ Existence is not opposition, but encounter, movement-as-relation–the air, breath, and wind of all formations.
This essay introduces and sets the stage for expounding the concept of all-centeredness—a term coined by Emeka Okereke to describe the dynamic interplay between individuality and unity. It invites readers to reflect on presence, essence, and the fertile ground of being, exploring how difference and interconnectedness coexist in harmony
The exhibition “Being, Seeing, Wandering” at the Berlinische Galerie showcases the work of Nigerian-British photographer Akinbode Akinbiyi, highlighting over 50 years of his photographic journey. Through diverse themes, Akinbiyi explores sociopolitical narratives, merging historical contexts with personal reflections, inviting viewers to embark with their own journeys and inward sensitivity.
There is so much knowledge and wisdom embedded in the unknown. Thus, when one says, “I do not know” it does not always mean one is not wise. Quite the contrary. The unknown is a headroom. The ever sprawling horizon. It is an ordered hierarchy that discreetly and patiently hold the missing pieces of our logic, waiting for us to weave our way to it.
The 21st century is witnessing unprecedented technological advancements, giving rise to interconnectedness and reshaping our understanding of knowledge and truth. Amid this progress, anxieties about the future loom large. As we grapple with the deconstruction of institutionalized knowledge and the emergence of new forms of subjectivity, the power of delineation becomes pivotal. It allows us to recognise and honour differences, paving the way for a more inclusive and harmonious future, transcending historical biases and pointing to the way towards genuine progress.
DIARY OF A BORDER-BEING 