The title is a Pidgin English translation of “river of prawns,” a name used by Portuguese explorers in the 15th century, to denominate the region of the artist’s country. The work relates the passivity of the prawn and a political thought pattern that dates back to the colonial era, while the image of a bicycler in a suit that seems to go nowhere speaks of an unquestioning despair to catch up with European aspirations. The installation establishes a relation with the human scale, playing with some aspects of the nature of sculpture.
