Working with photography, video, sculpture, sound, text and performance, Eyongakpa’s interwoven installations obscure the boundaries between employed media and distort the notion of the real and the illusory. He approaches the experienced and unknown transgenerational memories through a ritual use of repetition and transformation. Central to Eyongakpa’s practice is the quest for negotiations, coexistence and relationships between subjective and objective realms.
In his performance, ??Fullmoons later/ wata kulture II performance (2015), he references Etokobi rhythmic variations (cross-river basin, south west Cameroon), John Coltrane, Billie Holiday, Amiri Baraka, (Why’s/Wise, 2009) among others and connects this with the ongoing Mediterranean crisis.