The work of Werewere Liking establishes a realm of powerful energies in which sculpture, word, and myth not only coexist but vibrate on the same ritualistic frequency. Liking’s creations, made from found, recycled, and re-signified elements, are not mere forms that occupy space: they are enchanted bodies, living inscriptions of memory and imagination. Her poems expand this experience, reconfiguring the relationship between language, matter, and spirituality, as if each fragment spoke the secret language of time.
Gathering, reassembling, re-invoking: these gestures intertwine as virtuous practices against forgetfulness. In Liking, the reimagining of the creative process is also a restructuring of creativity that pulses around community, collective growth, construction, and the search for meaning. The artist names this creative field as Ki-Yi Mbock, a concept from the Bassa tradition in Cameroon, referring to supreme universal knowledge. In this territory, just as in ancient times, art and life are inseparable: the creations do not merely occupy space, but reorganize it, converting experiences into portals of autonomy.
Her sculptures are not fixed archives, but mobile constellations, in which past, present, and future intertwine in a rhizome of multiple potentialities. Each piece breaks the historical linearity and establishes an expanded, dense vitality, in which what is rejected is reactivated as the elaboration of new cosmogonies, with overlapping narratives and politics. Here, the world does not present itself as a static given, but as an entity of infinite inscription.
Liking’s presence is, above all, a force that operates as a cosmic compass, a map to multiple realities. The making that emanates from her is thought, pulsation, a noble breath that touches the sensitive. She delivers to us vibrational fields, territories that cross between the spiritual and the earthly, the movement of life rewritten through the sculpting of words and forms, which, for her, is like invoking ancestry.
Her work is not merely in the world but establishes another way of inhabiting it, becoming traces of futurations, something that affirms itself as a method for a dignified life, an invitation to feel the essence of things in a magnified way. These effects bear fruit in the spirit of a master who lives in the plenitude of eternal movement.