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Figures, which traditionally represented images of ancestors, were placed in the central tent of the village.

The Tikar people believed that a child was created from a woman's menstrual blood.

The artist claims that this is a form of hyperrealism, intended to pay tribute to the great figures of the art world.

 For me, it is the return of an artist with an academy degree to the world of a boy raised among local idols.

There is a whole group of masks from the south of Ivory Coast that share common characteristics. First and foremost, they are disturbing.

 The folk origin of the bronze would be supported by the careless, primitive workmanship of the sculpture and the quality of the casting.

The sculpture is symbolic, with barely discernible silhouettes and heads that are disproportionately large in relation to the figures. Only the faces are clear, full of emotion, rather ugly than beautiful, and similar to each other. (So maybe it is a family after all).

I appreciate the sculpture for its calmness, static solemnity, and charm devoid of banality.

According to the beliefs of the Latmul tribes living along the Sepik River, the crocodile symbolizes the spirit of the ancestors. Since the whole world was created from water, the crocodile was one of its forefathers.

It is likely that several such masks formed the capitals of the columns supporting the roof of the House of Men.

The sculpture depicts a dignitary of the royal family in all his majesty. He sits on a throne whose base is formed by elephants, the most powerful animals in Africa, and whose armrests are coiled snakes. On the backrest, we see a scorpion, two chameleons, and a bird. These animals symbolize strength, wisdom, and cunning.

Judith Braun uses her favorite triangle motif in this sculpture, which, like the semicircle, dominates most of her works.