MILAN.- P420 announced the acquisition of two works by Victor Fotso Nyie. Revitalisation (2025) has been acquired by the Museo Ettore Fico in Turin, and Renaissance (2023) will join the collection of the Museo del Novecento in Milan, following the artist’s recognition with the Rotary Club Milano Brera for Contemporary Art and Young Artists award, granted during Miart 2025.

The Museo Ettore Fico, known for its focus on contemporary art, will include Revitalisation in its collection, reflecting Fotso Nyie’s distinctive approach to blending tradition and modernity.

Renaissance, acquired through the Premio Rotary Club Milano Brera, will be added to the Museo del Novecento’s collection in Milan, further enriching its holdings of 20th and 21st-century art.

These acquisitions represent important milestones in Fotso Nyie’s career and contribute to the growing presence of his work in public collections.

Victor Fotso Nyie’s work delves into the intersection of personal narrative, cultural restitution, and the spiritual resonance of ancestral memories. His sculptures, often crafted in triple-baked terracotta with waxed finishes, are imbued with a powerful iconography that bridges contemporary figuration and Pan-African vernacular traditions. Fotso Nyie’s artistic practice reimagines traditional African forms, interweaving personal self-portraiture with motifs sourced from ethnographic collections, flea markets, and the collective consciousness of his Sub-Saharan heritage.

Central to Fotso Nyie’s practice is the materiality of clay—a medium he uses not only as a tool of creation but as a vessel for storytelling. Through forms both fragmented and whole, his sculptures engage in a dialogue with themes of displacement, identity, and the profound quest for cultural healing. Arranged in non-hierarchical constellations on plinths of soil and brick, a few works evoke an otherworldly space—a liminal zone between the lunar and the terrestrial, the sacred and the profane.

Fotso Nyie’s oeuvre resonates deeply with the ongoing discourse surrounding the repatriation of African artifacts, challenging the narrative of European modernist primitivism while asserting the agency of African and diasporic voices. His works also incorporate gold, transcending the earthy materiality of terracotta to invoke the divine and the ethereal.

Fotso Nyie invites viewers into a oneiric realm, where ancestral spirits and cultural memory converge in a suspended temporal space. By appropriating and recontextualizing traditional African artifacts within his sculptural vocabulary, he not only critiques the commodification of African ritual objects but also reclaims them as sites of resilience, identity, and poetic transformation.