2015-ongoing

révélée - past participle perfect, feminine; Infinitive: révéler - unveiled, revealed, uncovered

– in analog photography, the French term révélée is also used to describe the handmade print –
Update 2019: I am still in the process of slowly evaluating color and density in the darkroom. I choose to only show a small selection of the photographs online.


Driving for hours through French landscapes at night. Cold road trips into the Unknown.
I am still fascinated by barely existing light and its appearance through film and chemicals.
Somewhere, anywhere, nowhere. I stop. There I spend most of the night until just before sunrise, to get involved with the darkness and allow an image to create itself through time. Careful, conscious action is required, a risk always remains. After my return, I develop the film in uncertainty: could I capture enough light? Or was it all for ‚nothing‘? How much does the image in the end even matter at all, if something has been taking place either way?
I do not document. Nor do I stage.

Crossing borders.

In my deep interest in the dark, I can evolve only slowly, because the technical framework of photography is stretched by far. The camera does not see a single moment, because it simply is too dark. Only by perseverance, film by film, I can create a picture and develop technical references for a new and intimate approach to my photography. Révélée, in its chosen form, contains tangible references to origins and meanings that can not be established in the pronunciation and only be revealed in the written state: the femininity of the word, which points to myself and my position in my work, as well as the past tense, what has been established and is no longer vague - in comparison to an infinitive which only formulates the possibility and not actual reality.

Throughout the journey of révélée, plastic film is an important element, although I do choose to not make it visible in every image. On one hand, it reveals the fact that I was present in one place but conceals my physical dimension at the same time. I wrap myself in it, or cover myself, or leave it to itself. The artificial material, with its translucency and quality of reflection, abstracts the photographic exposure in nature, arousing sonic and visual attention in the dark exterior, yet

offering as well a certain kind of protection. Its movement vocabulary is complex; behaving unruly penetrating, harmonious or beyond any control at all.

Akosua Viktoria Adu-Sanyah, Ava Silvery, ​performative photography, darkroom photography, ​périphérie I

périphérie I

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Akosua Viktoria Adu-Sanyah, Ava Silvery, ​performative photography, darkroom photography, Veil – Self-Portraits in The Dark II

Veil – Self-Portraits in The Dark II

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Some Green Meadow

Shortly after Midnight
Nowhere in France
I cover myself in a plastic shell illuminated from inside.
There is a feeling of strangeness.
Hours seem to go by.
Akosua Viktoria Adu-Sanyah, Ava Silvery, ​performative photography, darkroom photography, Listening II
 – Self-Portrait in The Middle of A Dark Field at Night – 60 Minutes

Listening II
 – Self-Portrait in The Middle of A Dark Field at Night – 60 Minutes

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I gaze into the distance.


I listen.

Absolute darkness at first until my eyes have adapted to the situation.

Previous nights have been restless, more uncertain.

It's just right after midnight.
I am exposing this photograph over about one hour from 0:10 am to 1:10 am.
This night feels like a warm body around mine – not like a cold black hole holding me back.

Overcome.

The tendency to keep ourselves apart from things we are afraid of
is not uncommon.
This form of distance is always part of my mind, part of who I am.
Angst continuously bothers me.
The experience I do not make
or the thing I do not touch is claiming space.
Paralyzes.

Creepy private situation. 

No physical wall limits the vast around me. 

There is wind instead – drawing frequencies, outlining space.

I record the sound for a few minutes. 
My left ear follows the air in real time.
On the right ear I listen to the recording.
Both tracks run parallel, are carrying different qualities.
Immediacy of reflection by the senses alone – without the compromising necessity of verbalization.
Akosua Viktoria Adu-Sanyah, Ava Silvery, ​performative photography, darkroom photography, ​Simulant Part I

Simulant Part I

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Akosua Viktoria Adu-Sanyah, Ava Silvery, ​performative photography, darkroom photography, ​Simulant Part II

Simulant Part II

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Akosua Viktoria Adu-Sanyah, Ava Silvery, ​performative photography, darkroom photography, ​Simulant Part III

Simulant Part III

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