Akuzuru is a multidisciplinary artist who embraces installation and performance who continually experiments with textiles as sculpturing media incorporating other materials like paper, wood, clay and metals.

In the 1980's she studied art and fashion design in London. Whilst in London she worked and performed extensively in theatre, and on numerous other major arts projects including Gran Gran Fiesta (Brazil); the Nottinghill Carnival where she designed and coordinated costume production for a number of years; participated in the filming of 'AMA' (a Ghanian film shown in London); performed in Keith Khan's 'Flying Costumes, Floating Tombs' at LIFT (London International Festival of Theatre). She also held two solo exhibitions of her works during her stay in the UK.

In the 90's into the millennium, her journey took her to Africa where she studied textile art in Nigeria gaining her masters degree. Whilst there her work blossomed and more solo exhibitions followed. 'Smoke - Translucency of Spirit' was held at the Goethe Institute - Lagos, Nigeria 1999. In 2001 she presented her work at the forum entitled 'Clothing as Wearable Art' at the CCA7 Galleries (Caribbean Contemporary Arts), in conjunction with the British Council's 'Satellites of Fashion' touring exhibition.

She recently completed her residency at CCA7 which culminated in the exhibition of her installation titled Neo-Script: Village.

"Africa Tamed me whilst remolding my sensibilities in art making. One was able to absorb art from another perspective - an holistic totality clothed in rhythmic cohesion. This totality is devoid of the destructive fragmentations that plague the business of art making for art involves the stimulation of all the senses - tacitility, to feel, to smell, to taste, audio, visual and spiritual." From Dry Leaves: an exhibition at the National Museum, Trinidad, 200.

"In developing the script, one needs to delve retrospectively to research and analyse the structure of a continued languaging within a culture, and to paste this knowledge into the re-definitioning of one‚s immediate spatial concerns which encapsulates all language forms. Therefore the language of speech is not the only intrinsic factor in configuring a Script, as other contributing language forms include body dynamics (e.g. certain gestural nuances which are important for communicative purposes); theatrical performances; sound; architecture and other utilitarian artforms.
Space is mantra. It is the continuous line of fibre, which is ultimately converted into form, which in turn envelopes sound. So in essence one builds sound through scriptural re-inventions, which is manifest through the languaging of the artmaking exercise, whilst applying an architectural sensibility to cloth; fibre; paper; wood; clay - perceiving them as building materials. Thus bridging and soothing the link between body and space- with an emphasis on the human condition. This exploration seeks to establish the hypothesis of deconstructing to reconstruct- a sculpturing ethos in soft and hard materials, engaging a plethora of paradoxes on this dichotomous platform. This is an exercise in self-expression, the primary tool here being the Word. This is about scribbles, delving back into our child selves and re-examining our purpose.

In my meanderings with experimental phonetics- one of the foundations of the language system- I have found that my performance pieces in cloth are a direct response to the phonetics within communicative patterning. Since performance is an integral part of the language whole- in whatever cultural establishment, I offer my pieces as script in part, for the Trinidad & Tobago space. Therefore it is from my pieces that a newly devised script of symbology arises. The basis of my pieces is movement: i.e. body dynamics. One can discern this quality even in its static disposition, where an aura of sweeping, circular organic motion is perceived.

The many cut shapes of cloth that make the end script garment, are also scripts on their own. Therefore my installation is a natural metamorphosis from the performance pieces, which involves sculptural forms increasingly becoming more environment situated, and less of a gallery spatial concern which can be very restrictive." From Neo-Script: Village at CCA7 Trinidad 2002