Simultaneously referencing and inverting Yves Klein’s 1960 performance Anthropométrie de l’époque bleue, which saw the artist use female participants as malleable ‘printmaking tools’, Damoah has instead assumed the role of living paint brush, using her own body to make painterly gestures, exerting her power as a black female artist. The shift from male director to female protagonist has enabled Damoah to redefine how the black female body is portrayed, deconstructing stereotypes as a means of reconstructing wider socio-cultural narratives. The artist has cited David Hammons and Ana Mendieta as key influences in the production of Genesis.
The exhibition, which comprises paintings, prints and performative works, will be accompanied by a dynamic events programme, including a live streamed performance by Adelaide Damoah, democratising the way in which the work is consumed, but also interrogating the complexities of internet culture and how we connect through performance. Though the work itself is complex and multi-faceted, it has been built around a minimal palette of black and gold. Speaking of this decision, the artist explained that “black and gold have been used both for aesthetic and metaphorical reasons. Black is evoking skin colour, but also absence as a lived experience. Meanwhile, gold is referring to Ghana's historical source of wealth which gave it its colonial name (Gold Coast).