His head is wrapped in white cloth. The taut fabric carves out subtle, photo-negative impressions of the features underneath—nose, lips, and eye sockets. Twisted into rope-like folds, the cloth encircles his neck, tightening the restraint. Two muscular, vein-lined arms are crossed over the chest, though most of the left arm is unexposed. The hands rest over one another, their fingers converging just below the chin. His torso is covered in dark drapery, wrapped diagonally across the chest and knotted just in front of the left shoulder. This arrangement leaves only a small portion of the right shoulder and bicep exposed—bridging concealment and revelation.
— Adéwùnmí Adébáyọ̀
This photograph was taken in Ivory Coast, precisely in a village on the Ivory Coast-Ghana border. It reflects the state of mind of humankind.
We seek God, whether through churches, mosques, or in nature, to honor our traditions. God occupies a central place in our existence. Ultimately, no one knows what God looks like.
Photography has immense power. By capturing a precise moment in reality, it can reveal profound truths and provoke emotions. A photo can be a testament to an era; photography has this unique ability to freeze time.
The photographer becomes a witness to his or her time.
Aurélie Jocelyne Tiffy is a contemporary Ivorian photographer known for her striking black-and-white portraits. Born in Aboisso, she pursued her passion for photography after studying accounting, later earning a Higher Technician Certificate in Visual Communication from ESMA in 2017 and a Graphic Design certificate in 2019. Her first exhibition was in 2018 during the OFF of the 13th DAK’ART Biennale. She further trained under Aïda Muluneh through the Donwahi Foundation. Through powerful compositions, Aurélie captures courage, vulnerability, and dignity—portraying the emotional depth of her subjects with authenticity and defiance, while challenging conformist visual narratives with a deeply human gaze. More of her work on Instagram.
