In the quiet streets of Lomé, where modernity and tradition intersect, Dodji Kwami Agbétoglo sculpts the soul of his country in dead wood. Braided hair, salt and pepper beard, Dodji Kwami (1989), his black shirts, designed with recycled materials between denim and polyester fabrics, have suited this wood sculptor for almost 20 years. He recently redid his gallery where the freshly painted walls and imposing artwork create a striking atmosphere that visually reduces the size of the gallery.
His sculptures in burnt wood, pierced with asen, and scarified offer a point of reference for this descendant of a line of hunters. “My creations are an answer to the questions about wood” explains Dodji. If these works carry their weight of worries, tragedies and suffering, they also sometimes have an almost unexpected tone of humor, as when he sculpts a statuette of Joseph “father of sculptors” carrying elements of the animist cult in the region. This surprising mixture shows that he enjoys combining and playing with references to produce works which are at the same time a bridge between several religious beliefs.
In the footsteps of the ancestors
When the microphone is addressed to him, his low voice contrasts with his works, immense and imposing, some measuring more than 2 meters. At 36, Dodji lives in the Amoutivé district, in downtown Lomé. It is in this soil where he creates, sculpts, dissects and gives to wood, but not only, the shapes which translate his sleepless nights and his gaze which navigates between modernity and respect for ancestral customs. On this last point, the artist makes no concessions. “I only work on my works with dead wood”, he confides. In the Togolese capital, several people contact him so that he can take back wood from trees cut in concessions so that he can give them “restores life”. For this sculptor trained at the Artisanal Village of Lomé, “It is unacceptable not to follow in the footsteps of one’s ancestors.”
In recent years, he has launched into transmission. Toyé-Toyé reflects well the training he initiated. THE « village d’art » Toyé-Toyé, which has an exhibition room, a family courtyard where he displays the works and designs the furniture, offers a large space to young people. They make clothes with local motifs, inspired by daily life in Lome, paint canvases and sculpt craft objects in impressive quantities.
“You are doing a good job” notes a passing tourist. Dodji already has 12 young artists trained in Toyé-Toyé in sculpture and painting.
At the “Toyé-Toyé” (Be cunning, in Ewé) workshop, the winner of the bronze medal in the sculpture branch during the 11th Francophonie Games 2023 in Kinshasa offers a complete range of his creativity.
« We are not interested in the proposals received”
In a landscape still with uncertain economic contours and in which the State still seems to be marking time, Dodji is reinventing itself. “He is also an artist-designer with the commissioned works he receives” explains Wody Yawo, its curator, pointing to the wooden seats, tables and other useful objects or furniture designed by Dodji.
He is also a designer of reproducible handicraft objects which can be found on the market among mothers in Lomé who sell them to tourists and lovers of wooden objects. But he is best known for his conceptual works which travel throughout the continent and beyond. In November, the artist was preparing, while waiting for the visa, to go to New York (United States) for a solo exhibition.
The question of the economic model then arises. “Going to other countries to bring back cultural exchange interests me. But above all I like working at home, in Togo, because my raw materials are here” claims the artist when it comes to questions of emigration. And this categorical refusal sometimes goes further. “The proposals from the galleries that we have received do not interest us, for the moment” affirms its curator.
Definitely, Dodji is not ready (for the moment) to give in to foreign sirens. But for how much longer?
After exhibitions and residencies in Benin, Cameroon, the DRC and China, the artist is looking to the West and his next trip to America could open new doors for him.
Elisha IRAGI, back from Lomé (Togo)
2024-12-05 20:15:00
#PORTRAIT #Dodji #Kwami #Agbétoglo #Togo #praise #sculpture #anchored #ancestral #customs
What role do traditional beliefs and practices play in Dodji Agbétoglo’s artistic process?
## Interview with Sculptor Dodji Kwami Agbétoglo
**Host:** Welcome to the show, Dodji. It’s an honor to have you here today. Your sculptures, especially those in burnt wood, are truly captivating. Can you tell us what inspires you to create such powerful and evocative pieces?
**Dodji:** Thank you for having me. My creations are a dialog with the wood itself. As a descendant of hunters, I see wood not just as a material but as a living entity with stories to tell. My work seeks to answer the questions posed by the wood, to uncover the hidden narratives within its grain and texture.
**Host:** You mentioned that you only work with dead wood.
Why is that important to your process?
**Dodji:** For me, it’s about respecting the traditions passed down from my ancestors. It’s an act of rejuvenating, of giving these fallen trees a new purpose, a second life. In Lomé, many contact me when trees are cut down in concessions. They know I will honor the wood and its history.
**Host:** Your work seems to blend traditional techniques with contemporary themes. You even incorporate elements of animist belief systems alongside Christian iconography, like in your statuette of Joseph, the father of sculptors. Can you elaborate on this duality?
**Dodji:** I believe art should bridge gaps, not build walls. For me, it’s about celebrating the diversity of belief systems here in Togo. It’s about finding common ground, recognizing the beauty and wisdom in traditions both ancient and modern.
**Host:** You’ve also dedicated yourself to mentoring young artists through your “Toyé-Toyé” workshop. How important is it to you to pass on your knowledge and skills to the next generation of artists?
**Dodji:** Very important. I’ve already trained 12 young artists in sculpture and painting, and it fills me with pride to see their talent blossom. They bring fresh perspectives and energy to the art scene, and that’s essential for the future.
**Host:** You’ve achieved international recognition, winning a bronze medal at the 11th Francophonie Games in Sculpture. What are your hopes for the future?
**Dodji:** I want to keep pushing my artistic boundaries, exploring new materials and techniques. But most importantly, I want to continue using my platform to empower young artists, to show them the power of art as a tool for expression, for dialog, and for bringing people together.
**Host:** Your dedication to your craft and your community is truly inspiring. Thank you for sharing your journey with us today, Dodji, and for the incredible work you do.
