Fusion and fission through art

Four contemporary artists—Manuela Lara, Gloria Kiconco, Charity Atukunda, and Elsadig Janka are holding a group exhibition in Kampala titled “Confluence: Fission, Fusion, and Creative Alchemy” that is exploring the dynamic intersections of art, culture, and identity through the forces of fragmentation and synthesis.

The exhibition, originally set to close on February 27, 2025, which will now remain open at the Latitude 0 Degrees until March 23, 2025, delves into how separation and unity interact to shape creative processes and narratives, offering a multi-dimensional reflection on the ways these forces influence both personal and collective experiences.

The exhibition that opened on December 13, 2024, features four artists whose diverse practices and distinct mediums converge to create a rich visual and conceptual dialogue.

Manuela presents delicate portraits of women printed on handmade paper, merging traditional portraiture with the intimate craftsmanship of the medium.

Kiconco showcases zines that address the challenges of migration. Her use of barkcloth paper with printed pull-outs captures the fission and fusion of personal and societal narratives.

Atukunda merges human, technological, and natural elements in her digital illustrations. Her work seamlessly fuses organic and digital worlds, inviting contemplation on the convergence of humanity and technology in modern life.

Janka documents the rituals of Sufi ceremonies in Halagat Zikr in Omdurman, Sudan, through layered photographic compositions.

Manuela Lara

Manuela (Colombia) has 13 portraits of women named after the captured personalities that include “Aracely,” “Luz Maria,” “Carmen,” “Àngela,” “Maria Antonia,” “Shirly,” and “Sonia.”

Aracely is an 81-year-old, who has worked all her life to build peace in her community. “I am a leader, a brave woman who beyond weaving with woolen threads, weaves the peasant’s identity, which is the most beautiful thing that Sutatausa has to offer and share with the world. For the majority of my life, I have been a catechist and a teacher to the children of my community,” she says.

Carmen was trained as a dancer in the National Ballet of Colombia and in the school of folk dances of Barranquilla. Her desire was always to return to her region to train others and share her passion for dance.

Charity Atukunda

Atukunda (Uganda) has four artworks “Kitenge,” “Untitled,” “Joy and Sorrow,” and “Projection.”

“Joy and sorrow” made of charcoal, soil, mica, glue and glaze depicts two sorrowful women with brown embroideries on their dresses. The left hand of the woman donned in a long black dress is holding the right hand of the other in a white long dress.

“These works are inspired by Ugandan women and I use materials such as charcoal, glitter, mica stone and earth which often pass through their hands whether they are doing daily work or partaking in rituals of beautification.

"I hope to show a kind of process of transformation that can suggest reimagining these defined boundaries of gender roles and feminine identity,” Atukunda told The EastAfrican.

Gloria Kiconco

Kiconco (Uganda) has eight zines “North – Those Who Return,” “South – Those Who Stay,” “West – Those Who Wander,” and “East - Those in Exile.”

“Each of these zines explores the movement of artists in response to a lack of freedom of expression or in search of true expression,” Kiconco says.

“North – Those Who Return,” follows the story of a German-Ugandan artist who moves to Uganda a generation after her family fled for their own safety. It explores the meaning of belonging when one has multiple heritages.

“West – Those Who Wander,” follows the story of a Ugandan writer who decides to live outside of Uganda to find better opportunities as a writer while still returning to Uganda regularly to stay close to the culture and history that inspires their work.

“East - Those in Exile” revisits the experience of Rajat Neogy, the founder of Transition Magazine.

Elsadig Janka

Janka (Omudurman, Sudan) has 15 photographic compositions that include “The Path,” “The Adoration,” “The Cloning,” “Al Hadra,” and “Al Samad.”

Janka’s work glimpses into one of the largest Sufi communities in the world. Some estimates say that up to 60 percent of the population’s faith has been influenced by Sufi rituals with millions of Sudanese identifying with this mystical form of Islam.

The photographs are reflective of the Sufi practices that are rooted in movement. Through Janka’s techniques of blur, stop motion and multiple exposure the images capture the embodied practice of spiritual gathering and trance.