Nahosenay Negussie is an Ethiopian Artist, born in April, 1987 in Ferensay; district of Addis Ababa. With a great distinction result he took his B.A in Graphic design from Alle School of Fine Arts and Design school in 2012 (Being outstanding student of the year from the department). Subsequent to that he attended various workshops given by famous foreign and local artists in Addis Ababa. He was also a recipient of the japan Prize scholarship in 2012. Currently he is working as a full time studio artist in multidisciplinary fields dealing with social issues. His work of art is contemporary in style and often abstract and semi-abstract in design; - emphasizing color, texture, contrast and value relationships.
He also co-founded ‘Moged’ fine Arts Studio. During this time, he oversaw and worked on several high-profile fine art projects, including a large scale mural art located at the main building entrance of Ethiopian foreign affairs office and Jupiter international hotel.
During his stay in art school and after graduated he participated in different artistic activities, workshops, charity programs and showed more than eight group exhibitions which include national museum, UNECA, Radisson Blue Hotel, Alliance Ethio-Francis and Alle School of fine arts. Nahosenay’s work can be found in public and private art collectors both in Ethiopia and abroad.
TIBEB (Fabric for Ethiopian traditional dress)
‘Tibeb’ is the decoration of pattern which is handwoven with supplementary weft in to the border of the ‘shemma’ worn by women and men in Ethiopia and Eritrea. The ‘shemma’ traditionally was worn in the northern and central highlands of Ethiopia.
At the heart of my artistic pursuit is the decorative object. My research centers on conceptual explorations of the multiple layers of meaning of decorative collectibles, in their sociological and historical dimensions, and also in their ideological and aesthetics ones. This approach takes its form in the re-appropriation of historical ceramic archetypes.
My art considers the object as a social indicator, a “sign bearer”. Considered as instruments of political power, ideological vehicles, demonstrations of ostentatious luxury and economic power, but also as incarnations of emotions and experiences, the historical archetypes of decorative arts consummately provide me with useful material.
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