The white man plunders, contains, removes, buries. The white man selects, exports, resells.
Dawit Abebe’s white man creates imbalances, because there can be no balance between nature and hunter as long as the hunter makes scorched earth behind him. The contrast between drawing and collage, between imagery and reality exposes the viewer to the evidence of repression, the abuse of force, the blind opulence that is not satisfied, always wants more, a mountain more.

There is this silent image that strikes among others, an obese white man, planted on the ground by the weight of his own body, has filled a lot with houses, dwellings and monuments.

He has gone beyond the limit and yet he seems to want to put some more, crushing the contents to make room for more looting.

We do not see his face, but his fat nape in the folds of his neck refers to cinematographic conquerors already seen, already lamented for their unstoppable desires.

And in the same way white figures alternate removing animals, villages, people; and everything appears without solution, without alternative, unspeakable and yet it has already happened. Dawit Abebe draws and composes what we know but don’t want to admit, “The balance of things” is a potentially infinite series because our desire is infinite, our looting non-stop. The “gardener” has turned into a “hunter” and nothing is more closed to him, no space, no boundaries; everything is “available” here and now. It is enough for him to stretch out his long arms, load as many things on his back as possible, everything will be swallowed up by his imbalanced imposing body, like tubs of popcorn from which to draw yawning. Good Vision.