Art A Dream in Addis: The Artistic World of Wondwossen Beyen
October 19, 2024
At 46, Wondwossen Beyen is a multifaceted artist, photographer, and teacher who has long harbored a dream: to build a studio that would embody both his creative spirit and his childhood aspirations. This vision wasn’t merely a fleeting fancy; it was the product of decades of passion, nurtured since his youth. His vision goes beyond the ordinary—it’s not just about creating a workspace but designing a gallery that reflects the deepest corners of his imagination.
Born and raised in Addis Ababa, Wondwossen graduated from the Addis Ababa University School of Fine Arts in 1991 with a degree in Art and Design. His studio, located in the” Kebena” area behind the well-known Sandford International School, stands as a testament to his dedication.
For him, the studio represents more than just a place to work; it is a physical manifestation of his lifelong creative journey.
Since his days as a student, Wondwossen has immersed himself in the world of art. His career has spanned a variety of roles, collaborating with art institutions and the Ministry of Culture and Sports. His artwork has gained international recognition, with pieces exhibited in countries such as the United Kingdom, Norway, and Kenya. But it is his handcrafted studio that truly speaks to the depth of his artistry
“I built my studio, the house, and all the furniture based on my own vision and dreams,” Wondwossen told The Reporter. “I used materials like wood, metal, mirrors—anything that sparked my imagination. My work spans sculptures, paintings, charcoal drawings, mosaics, and photography.”
Some of his pieces hold permanent residence in prestigious locations, such as the Sheraton Hotel, and have found their way into private collections in places like the U.S., Germany, Ireland, and Canada.
Touring the space, it was clear that the studio was not just a place to create—it was an artistic experience in itself. The journey begins at the compound entrance, where visitors are greeted by an assortment of sculptures, each unique in size and form. Upon entering the gallery, the eyes are immediately drawn to the vibrant display of green plants, flowers, and sculptures carved from singular pieces of stone, harmoniously arranged with charcoal drawings.
Inside, the first floor is an eclectic mix of artistic materials, unfinished projects, and a striking collection of antique items—radios, televisions, and other relics over half a century old. These treasures line the walls, serving as silent witnesses to Ethiopia’s past and to the evolution of Wondwossen’s artistic journey.
Ascending the 16 wooden stairs to the main studio, visitors are met with a display of carved wooden quotes from an array of thinkers—figures like Ethiopia’s Gebrekiristos Desta and Bealu Girma, to Italy’s Leonardo da Vinci, and India’s Mahatma Gandhi. Their timeless words are etched into the space, adding depth to the creative atmosphere.
At the top of the stairs stands “Nostalgic Tizeta,” a hand-carved statue of a young girl with her shy cat, a poignant reminder of nostalgia and the fleeting nature of time. Wondwossen crafted the piece over 30 years ago, yet its emotional resonance remains timeless.
The rooftop holds another marvel: a wooden list of Addis Ababa’s historical neighborhood names. From Mexico to Lideta, Shiro Meda to Kerra, these names tell the story of a city, etched into the walls of Wondwossen’s gallery. On the opposite side, newer names—Haile Garment, Ashewa Meda, and Gerji—reflect the changes Addis underwent after 1991, marking the city’s evolving landscape following the rise of the EPRDF.
Each corner of the studio reveals another artistic treasure. In one, a sculpture of a modest girl titled “This World Is Enough for Me” (Alem Bekang) stands at the door of a church, her hands clasped in prayer. Nearby, a painting of an elderly man holding a cup of “Tella” catches the eye. Titled “One for the Road,” the piece transports viewers to an earlier time in Ethiopia, evoking memories of communal gatherings and the warmth of social life.
The studio is a treasure trove of sculptures, ranging from a dignified Mahatma Gandhi to Egyptian pharaohs, a woman lost in the melody of her violin, and a young girl with braided hair, a large cross hanging from her neck. The space also houses black-and-white photographs taken over 20 years ago, alongside sculptures meticulously crafted through nut welding. Among them is “Sleeping Dog,” a quiet, reflective piece, and “Enlightenment” (or “Nikat” in Amharic), depicting an African woman adorned with traditional jewelry, her posture and adornments exuding timeless grace.
One of the studio’s most striking works is a massive painting, titled Quietness (or Tsetita in Amharic), that measures an impressive 230 by 130 meters. The piece depicts five men leading their donkeys through a mist-shrouded forest, on their way to the market, evoking a serene, almost ethereal moment.
At the heart of the studio, surrounded by more than fifty paintings, visitors can’t help but feel enveloped by Wondwossen’s artistic world. Handmade furniture, crafted from wood, iron, and even repurposed bathroom tubing, adds to the immersive experience. There’s even a swing for visitors to relax on, along with the most unexpected feature of the studio—a manually operated sliding rooftop, ingeniously made from corrugated iron, letting light and air spill into the gallery.
Over the past three decades, Wondwossen has produced more than 4,000 paintings and countless sculptures in this space, using oil and acrylic paints. “I paint 15 to 20 pictures a month and have made over 4,000 in year,” he told The Reporter. Many of these works, he explains, are inspired by the beauty and value of nature.
His paintings range in size from large-scale works—some as big as 250 by 150 meters—to smaller pieces measuring 30 by 40 cm. His art has garnered interest from both local and international buyers, with exhibitions held in various museums. According to Wondwossen, most of his admirers tend to be middle-aged, although younger generations are increasingly drawn to his work as well.
“Middle-aged people often resonate with my work, but that doesn’t mean others don’t appreciate it. I’ve seen young people and collectors from all walks of life find joy in my art,” he shared. His paintings are sold for anywhere between 20,000 and 250,000 birr, though he notes that the price of art often fluctuates with the seasons and other factors.
While Wondwossen takes pride in his commercial success, he is most fulfilled by his role as a teacher. “Being an artist is one of the reasons I became a teacher,” he said. “Seeing others follow in my footsteps and knowing that I am passing this profession on to the next generation brings me immense joy.”
Despite all he has accomplished, Wondwossen remains most excited about the future. “The painting I love the most is the one I have yet to create,” he said. Financial constraints and the lack of exhibition spaces have sometimes limited his work, but his aspirations remain boundless. He dreams of representing Ethiopia further on the international stage, with hopes of creating large-scale sculptures that could become defining symbols of his artistic journey.
Constance Atika, a 57-year-old Kenyan artist and colleague of Wondwossen, is especially moved by his studio. “The quotes under each staircase inspire me to learn more about the world,” she said. “His studio is not just a workplace; it’s a sanctuary. The wooden-carved quotes on each stair leading up are a reflection of his vision and creativity.”
Beyond the aesthetic appeal, Atika highlighted the cultural depth in Wondwossen’s work. “His paintings speak volumes about Ethiopian culture—its religion, rituals, and daily life. They are vibrant, alive with the essence of Ethiopia,” she said.
Wondwossen’s studio is more than just a workplace. His creations not only reflect his personal journey but also serve as a bridge between Ethiopia’s rich heritage and the global art world.