Ethiopian American artist and designer Jomo Tariku is a true pioneer of modern African design, and his 2023 ended on quite a high note. Tariku  was named the 2024 recipient of the Artist Grant with the Alturas Foundation and had a presentation at Wexler Gallery during Design Miami/ 2023, a continuation of the African design language he’s worked so hard to create. Now, he’s released new work that evolves the conversation further, paying homage to important cultural and historical symbols of the African continent through the use of new materials and other goods.

Tariku’s Kundung Pembe Chair marks the first time he’s worked with bronze, exploring what he can create with metal. It’s a big departure from the wood and plastic he’s known for utilizing, but is part of the story of Africa. “Bronze is one of the oldest materials used throughout Africa, from the Bronze Head of Ife in Nigeria to Coptic crosses and Mequmya (prayer staff) in Ethiopia,” he shared, making it a natural fit for Tariku’s work.

The uniquely-shaped chair revisits a common resource found in many African cultures: the horn. Repurposing the “cattle horn” allows for the creation of essential items such as drinking vessels, beads, combs, utensils, weapons, and musical instruments. You’ll notice several types of horns at work in the Kundung Pembe Chair, reflected in its name – a fusion of words from different regions of Africa: “Kundung” from Nigeria and “Pembe,” the Swahili word for horn in Eastern Africa.

When Wexler Gallery extended an opportunity to Tariku to work with bronze, this is the piece he chose to develop from concept to reality. “Although the initial sketch captured a profile I really liked, transforming it from a slender concept into three-dimensional art became a big challenge; my goal was aimed at conveying both artistic and industrial design facets, resulting in a functional piece of art,” he said.

Different from Tariku’s original idea, the Kundung Pembe Chair no longer featured clean, conical shapes for its front legs, but more organically-shaped horn-like elements. “This approach kept the essence of my original design while introducing a very animalistic look, with a posture that looks alive and about to walk away,” the designer said.

The Zagwe Cabinet (ዛግዌ in Geeze Script) is Tariku’s first large scale work, constructed using walnut, ash, and Baltic birch woods. He borrowed from the architectural styles of two kingdoms in Northern Ethiopia, the Zagwe dynasty, which ruled part of Ethiopia between 900 and 1200 CE, and the Axumite kingdom, which met its demise just before. Using elements of both, Tariku pays homage to the past while continuing to move the conversation forward.

The strongest visual element – the cabinet’s stripes – is influenced by the church of Yemerhane Kiristos in Lalibela, with its unusual alternating stone and wood materials. The details of the Zagwe Cabinet also borrow from architectural work found in Axum, a city located to the north, where architects of the time introduced the use of protruding rectangular logs.

The Meedo Bench, an extension of Tariku’s Meedo Chair, uses 16 layers of walnut veneer in its construction and the same crafting technique as the original piece. The comb-like sections, or tines, are individually made using a mold before being brought together, creating the appearance of “walking fingers.” If you haven’t already guessed, the design is an homage to the Afro Comb. “Meedo” is the Amharic word for “comb,” chosen as the name of a design combining the iconic accessory’s history with the symbolism of a chair signifying leadership.

Tariku also took his new experience with bronze to the Meedo Chair itself. Originally commissioned in wood by the Metropolitan Museum for their Afrofuturist Period Room installation, this version offers a more polished take on the already statement-making seating.

To learn more about Jomo Tariku’s latest work, visit wexlergallery.com.