This photographic series is part of an approach to conceptual and documentary. In this work the photographer explores the story of her grandmother through the remaining objects the dowry of his marriage: Wooden canteen produced by her future husband, cloths, beads, gin bottles, bowls, mirrors etc. These are goods that the groom's family brings as a symbol to seal the alliance between two families, two clans, two ethnic groups and materializing their mutual consent. Thus, in an extended family of vision, it is estimated a couple is not built by him alone, but with the help of relatives, and first respective families. This system helps to register couples in the
period in Community logic. By photographing the remains of this dot, Ishola Akpo, attempts to show that the object never revealed but it is the silent witness. Each frame carries a set of memories experienced by the couple, but also imagined and fantasized by the viewer who projects his own stories about the objects.

These images also have a meaningful potential to grandmother became the photographer of both object and subject of the report. These objects are relive his memories and his memory. They also reveal the anguish of
those who feels old and who wants to leave a trace of its passage in the family memory. These rusted and worn objects have aged with the woman, they bear the imprint of time as she carries on her beautiful face weathered,
wrinkles, gray hair. But they celebrate also the lives of Dossi.

Speaking of this personal and intimate story and by staging his own grandmother, Ishola Akpo puts into perspective the importance of the dowry he received 80 years ago and reflects a strong African tradition in the first anchoring in its own history and its subjectivity. This step is for the artist the first of a global reflection on the issue of dowry he wishes to continue imagining what could be the dots in the future. plastic project as much as societal, this series talks about the traditions that underpin our cultures and how they are perceived today through the eyes of a little son on his grandmother, looking both confused, loving, critical but
aware that he can not see all the essential is invisible to the eyes.

BIO

Ishola Benin Akpo is a multimedia artist and photographer. He experimented with the possibilities digital and renews the kind of collage. Blending its themes, it plays on different levels of reading images, and in fact
plural metaphors.

Images Mixed between reality and fiction, remain central to his work. His participation in contemporary art Transcultural Forum of Port-au-Prince in 2008, marks the beginning of his career as a photographer. Since then he
has been the recipient of several awards, including the Heinrich Boell Foundation, Freelens webdoc of the Festival Photography of Toulouse. His work was presented in the 11th Aleppo International Photography Festival in Syria, Picture Off to Paris and in the new Festival documentary cinemas, Périféériques # 1 and # 2.

In 2013, Ishola Akpo was one of the winners of the visa for the creation of the French Institute in Paris: it develops its project No flash please! This series was presented as performance and solo exhibition at the French Institute
of Cotonou in 2014. In 2015, Ishola Akpo is one of the winners of Photoquai / Musée du Quai Branly residences Paris. Invited to Brussels by the Association Mosso in the project residencies Dokountin # 2, he began a photographic research on the dream of minors immigrants (MENA) in Belgium.
He has participated in group exhibitions in South Africa (Goodman Gallery), Haiti (Windows on the World, French Institute of Haiti) to Cabo-Verde (International Festival Photography of Cabo-Verde) in Brussels at the Museum Night Fever at Wiels, Brazil (Festival Afreaka). He was nominated for the Pictet disorder