Victor Ehikhamenor’s perforations, painstakingly created through uniform punctures in handmade paper, form intricate shapes and portraits that transform negative space into compelling visual narratives. These delicate, repetitive marks echo the precision of pointillism while introducing a sculptural depth that reflects a deeply personal and cultural dialogue. The perforations are more than an aesthetic device; they symbolize the layered scars left by systemic violence—whether colonial, educational, or institutional—and its enduring impact on identity formation.

Rooted in African scarification traditions, these works draw on a history of body modification as a marker of status, clan identity, spiritual significance, and rites of passage. By referencing these ancient practices, Ehikhamenor bridges ancestral wisdom with contemporary critiques, questioning the legacies of power and displacement. The methodical process of perforating the paper mirrors the physicality of scarification, transforming the surface into a site of memory and resilience.

Through this practice, Ehikhamenor reclaims cultural narratives and challenges the erasure of African traditions, imbuing his work with historical weight and universal relevance. His perforations transcend the boundaries of medium, inviting viewers to reflect on the intersections of trauma, identity, and the enduring power of storytelling.

In Ehikhamenor’s work, a messenger is depicted with a thread hanging from its mouth. The position of the thread indicates the status of their mission. If the thread hangs to the left, it signifies that the message has not yet been delivered, and people are expected to step aside. If the thread hangs to the right, it indicates that the message has already been delivered. This visual marker serves as a clear symbol of the message’s progress and the social order surrounding it.

The artwork Palace Soothsayer I features a large, oval-shaped form set against a deep black background, intricately adorned with uniform perforations arranged in concentric circles and rhythmic patterns. These marks are distributed symmetrically across the composition, with a particular emphasis on the central vertical axis. A luminous gold band runs vertically through the center of the oval, narrowing towards the top and widening towards the base.

Around the middle of the composition, the perforations form curved and concentric patterns that suggest an eye-like shape on each side of the central band. At the base of the oval, a golden spiral extends outward, introducing a distinct flowing element. The surface of the paper reveals fine textures, while the gold accents provide a striking contrast to the dark background. At the base of the oval, a golden spiral gracefully extends outward to the left, symbolizing that the message has yet to be delivered. In contrast, its counterpart, Palace Soothsayer II, features a spiral extending to the right, signifying that the message has been delivered. This subtle distinction imbues the works with a narrative element, using visual cues to convey the status of the soothsayer's mission.