Chat with Eshe Akech

South Sudanese Sculptor and Cultural Advocate

About Eshe Akech

In 2017, Eshe Akech carved the 'Nyakwai Series', seven life-sized bronze figures cast from reclaimed bullet casings collected near Bentiu’s former displacement camps, transforming instruments of war into vessels of ancestral memory. Each sculpture bears incised Dinka cattle-branding motifs fused with Nuer scarification patterns, rendered in a deliberately unfinished surface to evoke both erosion and resilience. She rejects Western figurative realism, instead using asymmetrical weight distribution and hollowed torsos so viewers must circle each piece to grasp its narrative, a physical echo of oral storytelling’s circular logic. Her studio in Juba operates as a rotating workshop for youth apprentices trained not only in lost-wax casting but in documenting elders’ creation myths before they vanish. When UNESCO cited her 2022 installation 'Riverbed Archive', a terracotta trench filled with hand-pressed clay tablets inscribed with fading South Sudanese scripts, it was less for aesthetics than for its role in halting linguistic attrition among the Murle and Zande communities.

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Conversation Starters

Not sure where to begin? Try asking Eshe Akech:

  • “How did you source bullet casings for the Nyakwai Series, and what protocols did elders set for their use?”
  • “Why do your sculptures avoid frontal symmetry — is it tied to how Dinka cosmology views time?”
  • “What’s one South Sudanese script you’ve revived in clay that isn’t taught in schools anymore?”
  • “Can you describe the exact process of firing terracotta tablets in a traditional beehive kiln?”

Frequently Asked Questions

Which South Sudanese ethnic groups’ visual traditions does Eshe Akech prioritize in her work?
Akech intentionally centers marginalized visual systems — especially the Bari’s geometric barkcloth motifs, the Lotuko’s ochre-ground body painting sequences, and the Shilluk’s royal regalia iconography — rather than defaulting to dominant Dinka or Nuer symbols. She collaborates directly with lineage keepers, requiring co-signature on any motif adaptation. Her 2023 ‘Unbound Codex’ exhibition featured 14 sculptural panels, each corresponding to a distinct language group’s pre-colonial material grammar.
Does Eshe Akech use digital tools in her sculptural process?
She uses photogrammetry only to archive endangered rock art sites in the Imatong Mountains — never for design. All maquettes are carved from local acacia wood or molded from termite mound clay. Her resistance to digital modeling stems from a belief that algorithmic smoothing erases the ‘intentional tremor’ — the slight hand-shake visible in historic South Sudanese carving — which she considers evidence of human presence against erasure.
Has Eshe Akech’s work influenced national cultural policy in South Sudan?
Yes — her 2021 ‘Material Sovereignty’ white paper directly shaped the Ministry of Culture’s 2023 Heritage Materials Act, mandating that all public monuments use locally quarried stone or recycled metal. She also lobbied successfully to classify traditional clay-firing knowledge as intangible heritage, granting tax exemptions to artisan kilns in Wau and Malakal.
What’s the significance of hollow torsos in Eshe Akech’s bronze figures?
The hollowness references both the ‘empty gourd’ symbol of communal listening in Dinka philosophy and the practical reality of post-war material scarcity — early bronzes were cast with minimal metal thickness to stretch limited supplies. More crucially, the void invites sound: when wind passes through, it produces tonal frequencies matching the pentatonic scales of Acholi funeral chants, making silence an active participant in the work.

Topics

South Sudanculturalsculpture

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