Rahima Gambo wakes up and walks, gathering things: branches, objects in the street, conversations, impressions. Then she takes these materials and makes something, with the intangible inputs coming through in the way she sets up an installation or draws on the wall in line-forms that feel runic, improvised yet ancient. Ms. Gambo soured on photojournalism after one too many assignments depicting trauma in northeast Nigeria — her home region, where the Boko Haram conflict has gone on for a decade. Her walk practice is an antidote; a different documenting, grounded and attuned. In Abuja, Nigeria’s capital, where she lives and has opened a space for artists, she shares it, inviting people to walk with her. It’s a way of belonging together, and on Instagram she offers outtakes from both the walking and the art it generates.
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Rahima Gambo’s wanderings, Yoriyas’s Moroccan photo scenes, Amos Paul Kennedy Jr.’s “Pile of Bricks,” Slavs and Tatars’ archival gems, Vanessa Bell’s Buenos Aires.