Sugar for the Pill • Pélagie Gbaguidi

Pélagie Gbaguidi

Pélagie Gbaguidi (°1965, SN) works with colonial and postcolonial archives. Her work is addressed to the community, because we need to analyse the colonial past together, as it is invisibly present in our modes of functioning today. She paints and draws the bodily experiences and traumas of violence from an intersectional and visionary practice. For her series ‘Naked Writings’, she spent many weeks in the AfricaMuseum in Tervuren, where she created drawings on the spot. The regenerative power of creation she strongly believes in, is contained in the drawings of colonial violence that she transferred from the archives of the museum. Decolonisation is a process of learning and un-learning, dressing and undressing the mind in a dynamic of reconstituting, healing and caring for each other and the communities we build.
You are warmly invited to visit Pélagie’s solo exhibition at Zeno X Gallery.

Works in Sugar for the Pill:
• Icon in Progress after the Pink, 2015. Pigment, water, oil stick, graphite and acrylic on canvas, M HKA Collection / Stadscollectie Antwerpen.
• Naked Writing, 2016. Coloured charcoal and pencil on paper, M HKA Collection / Stadscollectie Antwerpen.
• Naked Writing, 2016. Coloured charcoal and pencil on paper, M HKA Collection / Stadscollectie Antwerpen.

Pélagie Gbaguidi (from Benin born in Dakar in 1965), lives and works in Brussels. Gbaguidi calls herself a contemporary "Griot". A "Griot" questions the individual as he or she moves through life by absorbing the words of the ancients and modeling them like a ball of fat that he places in the stomach of each passer-by with the ingredients of the day. In the practical sense, it breaks the commonplace rhythm by inserting subtle incidents integrating its part of eternity. Her work is an anthology of signs and traces on the trauma. In fact, it is one of her recurrent subjects, evidenced by the acquisition of 100 drawings of the Code Noir (1685) series at the Memorial Act in Guadeloupe. Her focus of interest is centered on the colonial and postcolonial archives and on the unmasking of the process of forgetting in history. This readjustment of the imaginary arouses in the artist the urgency to give it form, a writing of liberating images and a corpus to draw contemporary forms.Has participated in numerous