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@remembering_the_unforgettable

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In conversation with Textile, dye, clay & plants. Exploring ways to stay close to loss, practices, forms & memories. By @tobi.aye 🇧🇯 based in Lisbon.
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É sempre um prazer trabalhar com a @tobi.aye 🔹
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Clay again, red earth again. As a tool, a vessel, a body that holds medicine and intention. These pots were photographed in a market where we buy ingredients for rituals, a place where earth, plants, and spirit meet in the most ordinary way. Stacks of red clay vessels, each shaped by hand, waiting to be filled with roots, leaves, water, fire. Waiting to carry something alive. In our practices, clay pots are important. They cook plant medicine, hold sacred mixtures, anchors ceremonies, and keeps the memory of every offering that has passed through it. The shape of these pots is not random; each curve and form follows a lineage of knowledge, passed down by potters who learned by watching, repeating, listening. Clay is present in altars, in rituals, in divination, in protection. It absorbs, releases, remembers. It is earth transformed into vessel. Again, a reminder that the land itself participates in ritual. Godomey - Cotonou, Benin July 2025
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A shrine shaped from earth and clay. A reminder that ritual begins with the land itself. Present in many houses in Benin, it serves to honour ancestors and deities. Remembering and maintaining a permanent connection with them is more than essential for our survival. A shrine is a place of concentration of energy, it’s full of vitality, expanding and contracting over time. Built with bare hands, left open to rain, sun, and decay, it exists in a constant conversation with the land. The cracks, the texture, the offerings, nothing is accidental. The unfinished aesthetic is a reminder that we are constantly moving, changing and evolving….we are a work in progress. It is also an invitation to everyone to continue building it.. A shrine is communal and continues to grow with human and non-human collaboration. Everything here follows the rhythm of elements meeting intention. Clay/red earth here is used to memorize prayers, intentions. It serves as protection and as a witness. A vernacular shrine in Grandma’s compound. Savi/Clovier - Benin July 2025
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Everything that is forgotten in prayer returns in songs and dance movements. Singing becomes ritualistic and dancing ritualised. The clapping of hands keeps the rhythm and the circle takes on another form, and everything remains suspended in another dimension. Even when the ritual ends, it continues, continuing to sustain us, nourish us, flow between us and within us. A vernacular encounter. Adjara - Benin August 2025
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I often say that prayer does not belong to religions; prayer is an indigenous practice and tool that has been hijacked by religions. Today, when we talk about prayer in the West, people quickly associate it with religions. In indigenous cultures, there is no ritual without prayer, but in the West, we want to learn how to perform rituals without learning how to pray. A ritual without prayer, especially communal prayer, is meaningless. Returning to prayer in our colonised world is to reindigenize ourselves.
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A vernacular moment. A community ritual day. An encounter with Atchinan Vodun, an ordinary moment filled with reverence, songs, steps, gestures and ritualised movements... Adjarra August 2025 . . #vernacular #indigeneity
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Conversation with Ifà. It always happens in a deep and heavy silence…. Among the 16 major signes of Ifa and all the 256 total signes, there is one that we do not like to encounter when we go to the oracle. This signe is Yeku Medji …. YÈKU or iku is death…though this signe doesn’t always bring death, we are still afraid of it. Sometimes it appears to announce death, and sometimes to announce our victory over death, meaning …. Conversation with YÈKU MEDJI Cotonou August 2025 #vernacularlanguage #ifà
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There are places where you feel the forest watching over you . Porto-Novo August 2025
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La Rivière Noire is alive. A body of water full of mystery, spirits, movement, silence and memory. Adjarra, Benin. August 2025
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FR <united minds> A l'invitation Studio Albion, j'ai le plaisir de vous inviter à venir découvrir le travail de Tobi Ayé, indigo sur soie, Billy Albion himself, woodwork, Jamal Ozsoy, Sharlen Nozawa & Bili O'Byrne, ceramics lors d'une exposition vente. Je suis honorée de partager cet espace avec ces artisans dont j'admire le travail. Il est pour chacun, singulièrement, issu d'un geste courageux et résistant. Un geste qui traduit leur attachement profond à révéler humblement leurs vibrations intérieures. "United Minds" est emprunté au titre du groupe Arrested development de l'album Zingalamaduni *vendredi performance / impromptu avec des invités surprises // 19:30 *samedi 12h > 19h EN <united minds> At the invitation of Studio Albion, I am delighted to invite you to come and discover the work of Tobi Ayé, indigo on silk and ceramics, Billy Albion himself, woodwork, Jamal Ozsoy, Sharlen Nozawa & Bili O'Byrne, ceramics. I am honored to share this space with these artisans whose work, for each of them individually, stems from a courageous and resistant gesture. A gesture that reflects their deep commitment to humbly reveal their inner vibration. “United Minds” is borrowed from the title of Arrested Development's album Zingalamaduni. *friday performance / impromptu with surprise guests // 19:30 *saturday 12h > 19h
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Indigo, café, cacau, açúcar, ouro, madeira… O que ficou submerso nessas profundezas? E o que deixamos a boiar na superfície? 18 de outubro Museu de Arte Contemporânea de Panamá Kunsthalle Lissabon ‘Primeiro estava o mar’ @tobi.aye @remembering_the_unforgettable @anagabrielalm_ @kunsthallelissabon @mac_panama
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MAR É MARÉ é uma performance de composição instalativa focada no movimento cíclico das águas do mar, gerado pelas forças gravitacionais do Sol e da Lua.  Conceito e texto: Raquel Lima Criação: Raquel Lima e Tobi Ayé Performance: Raquel Lima e Rani Lima Artista têxtil e tintureira: Tobi Ayé Curadoria: Ana Laguna Organização: Kunsthalle Lissabon e o Museu de Arte Contemporânea do Panamá 18 de outubro, no âmbito do projeto ‘Primeiro estava o mar’ e do programa MAC en el GUILD
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