አዱሊስ

Why Adulis Exists

Ethiopian Art Doesn't Need Fixing

I grew up in Ethiopia. I left for university in the U.S., and I came back, because I kept meeting people who had no idea what this country actually holds.

I've watched strangers fall in love with Ethiopia the moment they finally see it in person: the churches carved into rock, the color of a coffee ceremony, the weight of the history. I've watched the exact same thing happen with the art, every single time, without exception.

The Medici held money, not brushes, and had the good sense to spend it on painters instead of more gold. Ethiopia has never lacked the painters. It has lacked someone willing to spend on them the way the Medici spent on Florence.

Ethiopian art doesn't need fixing. It needs an introduction. I happen to know everyone it should meet.

— Founder, Adulis Art

The Operating Thesis

Mission, Vision & Goal

01 Mission

Put Ethiopian Art on the Map It Never Should Have Left.

The best Ethiopian artists were never short on talent. They were short on somebody standing between the studio and the collector who'd actually pay what the work is worth. Find them. Grow with them. Become their gallery and their agent — working for them, not just listing them.

02 Vision

Ten Master Works a Month. Then a Gallery. Then a Home.

We're starting narrow, on purpose. Ten master Ethiopian artworks reach collectors every month, each backed by a hundred signed prints, so the work exists at every price point, not only the top of one. As the catalog grows, so does the map: within a year, Adulis pieces hang in galleries and showrooms outside Ethiopia. Within a few years, the artists we represent are known by name, the way the world knows Basquiat's.

And in Addis Ababa: a gallery, and beside it, a working studio large enough for the next generation of Ethiopian artists to build a career there.

03 Goal

Build the Bridge. Then Build the City on the Other Side of It.

Phase one is distribution: ten works, a hundred prints, every month, reaching collectors who have never had the chance to own Ethiopian art before now. Phase two is presence: exhibitions and gallery partnerships around the world, the artists' names carried alongside ours. Phase three is home: a permanent art hub in Addis Ababa, recognized the way Florence is recognized — the place the art world goes, not just where the art comes from.