Islam of the Arab World (Morocco)
Photo collage on transparent window cling, faux grass, lanterns, leather rope, LED lights, small grass basket, Berber carpet (purchased from Casablanca),

40" x 29"
Before arriving in West Africa, Mohr had a day-long Layover in Casablanca, Morocco where he toured the city. One of the major attractions he visited was the world famous Mosquee Hassan II. Mohr did not grow up practicing Islam, but this work serves to not just showcase the practices of his direct ancestry but also highlight the spiritual beliefs across West Africa which include Islam inherited from the Arab World. 

Asante, subtribe of the Akan in Ghana
Photo collage on transparent window cling, faux grass, leather rope, LED lights, faux candles, faux animal hide, faux plants, Asante stool

51" x 42.5"
The Asante people are responsible for creating the world-recognized Adinkra symbols often depicted on textiles and even architecture throughout Africa as well as the U.S. and Caribbean. They also are known for their prolific dynasty that spanned the 1701-1901in Kumasi (the Asante capitol).

Memorializing an Akan Soldier
Shadow box, Certificate, Ghanian flag, brass upholstery nails

17.5” x 21”
These flag shadow boxes are often sold as military memorabilia, and contain the U.S. flag along with a U.S. military certificate to honor their contribution to war. Mohr’s version depicts his maternal ancestral line as soldiers who have overcome the inhumanity brought upon them which enabled Mohr to live today. This work includes the Ghanian Flag, alluding to the history of the Akan people, who reside as the dominant tribal group of Accra, Ghana. This tribal affiliation is consistent with his 23andme and Ancestry DNA percentages. 

Family Tree
Acrylic on canvas, upholstery studs, object assemblage, custom-built altar cabinet frame (Cabinet altar designed by Dario Mohr, fabricated by Cody Umans), dimensions variable
The Acacia Plant can be seen as an African symbol as it grows throughout the continent.  In this show, it serves as a religious icon for the veneration of ancestors, and for our collective ancestry as a people. Ancestor worship is one of the major indigenous spiritual practices of Africa that continues to be practiced in tandem with contemporary religions, and one of the major practices that Mohr has internalized after his journey to West Africa. Mohr’s journey of ancestral reclamation, which informed this show, was catalyzed by his homage to his grandmother in the series “Don’t Let it Slip Through Your Fingers,” presented as a Solo Show at Flux Factory in 2021. 

Repurposed church sign, brass nails

Christianity in Togoville
Photo collage on transparent window cling, leather rope, LED lights, glass church donation box

51" x 42.5"
Togoville is an Island off the coast of Togo which became the a tourist point for Christians after someone claimed to have sited the virgin mary on the water. This news made its way to Pope Jean Paul II who traveled to Togoville in 1985 to learn more about this supposed miracle. Along with several shrines and monuments created for Mary and Jesus, Indigenous and Vodun practices are found throughout the island, with the different religions coexisting peacefully. 

Ga-Adangbe of Ghana
Photo collage on transparent window cling, faux grass, leather rope, LED lights, faux candles, faux animal hide, liquor bottle, figure sculpture, glass vase with faux foliage 
51" x 42.5"
The Ga People are one of the most dominant tribes of Accra, Ghana and have created many things, including the Samai writing system (an endangered language) as well as internationally revered Fantasy Coffins that are created in the likeness of an object that a deceased individual had valued. While in Accra, Ghana, Mohr was honored to meet Eric Adjetey Anang of the world-renowned Fantasy Coffin company of Ghana, Kane Kwei Carpentry workshop (which he took over from his brother, Fantasy coffin pioneer Kane Kwei) This window includes several photos of their work taken in their outdoor studio. 

Reflection Corner
Includes participatory journal and dondo drum.  The talking drum is an hourglass-shaped drum from West Africa, whose pitch can be regulated to mimic the tone and prosody of human speech. It has two drumheads connected by leather tension cords, which allow the player to change the pitch of the drum by squeezing the cords between their arm and body. Hourglass-shaped talking drums are some of the oldest instruments used by West African griots and their history can be traced back to the Bono people, Yoruba people, the Ghana Empire and the Hausa people. The Yoruba people of southwestern Nigeria and Benin and the Dagomba of northern Ghana have both developed a highly sophisticated genre of griot music centering on the talking drum. Sourced from Dotcome Gallery in Ghana.

The Race Church
Repurposed church sign, brass nails

25” x 42” 

Memorializing an Ga Soldier
Shadow box, Certificate, Ghanian flag, brass upholstery nails
17.5” x 21”
\This work includes the Nigerian Flag, alluding to the history of the Ga people, who resided in Nigeria prior to arriving in Accra a couple centuries ago. Although there isn’t much literature on it, Mohr believes that the Ga may have had Nigerian blood due to his high Nigerian ancestry percentage from both 23andme and Ancestry DNA. It wasn’t until he took the African Ancestry test that he learned of his Ga tribal origins on his paternal side. When he went to Ghana, he learned that it was common knowledge that the Ga had not been in Accra for long and that they originally came from Nigeria. 

Acrylic paint on framed map, faux grass, hourglass, Piano

47.5” x 42”
This work spotlights the European countries that were involved in the Transatlantic Slave Trade of West Africa. These include the Portuguese, who were the first to buy slaves and were responsible for building Elmina and Cape Coast and slave Castles in Ghana. Additional countries involved include the British, Dutch (built Osu Castle), Spanish, Scottish (Built Unesco World Heritage Site Agbodrafo aka Slave House of Togo), Danish, Swedish and French. 

Vodun of Yoruba (Togo)
Photo collage on transparent window cling, faux grass, leather rope, LED lights, faux candles, faux snakeskin, liquor bottle, figure sculpture, Nigerian stool

51" x 42.5"
After speaking to countless personal guides, spiritual practitioners and lay people across West Africa, it became apparent to Mohr that Vodun (colloquially referred to as Voodoo) is an Indigenous practice that has adapted and been incorporated into virtually every religion practiced in West Africa. Sorcery used for protection as well as malintent is a part of everyday life for many people. 

​​​​​​Dario Mohr 

Temple of Acacia Ancestor Veneration Ceremony

Ouidah of Benin
Photo collage on transparent window cling, faux grass, leather rope, LED lights, faux candles, faux snakeskin, hand sculpture, antique slave mask, woven basket

51" x 42.5"
This includes photographic imagery taken during Mohr’s tour of The Ouidah Sacred Forest, which is a real life enchanted forest where miracles and magic have been reportedly practiced and maintained for centuries. Various deities and totem poles are depicted throughout the forest tour. This photo collage also includes the Ouidah Python Temple where they are venerated and used for ceremonial purposes.

Hands (4 in total on Kente Cloth)
Silkscreen on paper, birds of paradise plants in glass vases, leather rope, brass nails, Kente cloth
The series Hands depicts the middled history of West Africa due to colonial powers and among tribes in Africa. This group  is presented on traditional Kente Cloth.
African Material: This particular pattern of Kente cloth means “Unity.” It is hand-woven on a loom by one of the last remaining traditional Kente Cloth manufacturing companies, Bonwire Weaving. It was an honor to have purchased this from the man who created it himself. Many of the Kente cloths sold today in both the U.S. and West Africa are manufactured in a factory out of Asia, and because Kente cloth is indigenous to the Asante People, a subtribe of Mohr’s Akan ancestry, it was important to include this as a backdrop for these prints.