updates
hire me for consulting!
ebere agwuncha is currently working as a project manager/support person for other organizations, artists, and creative projects.
they are currently receiving project inquiries for 2026 via email / eagwun @ gmail . com ~ a follow up email will be shared to book a free inquiry meeting.
what to include in an inquiry?
+ timeline with final / goal deliverables
+ project support needs with my consulting
+ funding sources / goals
what type of work can ebere agwuncha do?
+ project management - development, design, purchasing, networking
+ creative - website design, art commissions, brand development, curation
+ strategy - grant writing, overseeing select budgets, communications
what are some examples of ebere’s work?
+ program management for the largest department within an arts org.
+ website migration and design for artists / studios / organizations
+ creative workshop design, facilitation, and creative lead
how much do you charge?
i’ve worked with projects, organizations, and artists with operating budgets ranging from 100 dollars to millions of dollars~ so nothing is too small to try and work on with you! in certain cases, i also accept bartering exchanges.
view ebere’s professional cv ->
news
1/3 - ebere agwuncha selected as a 3Arts Awardee
I was selected for a Teaching Arts, 3Arts Award for 2026!
“3Arts, the Chicago-based nonprofit grantmaking organization, announces the 17 recipients of this year’s 3Arts Awards: dance artists Wendy Clinard, Chih-Jou Cheng (程之柔), and Torrence “Tea Buggz” Griffin; musicians Tommy Carroll, Ariella Granados,Kara Jackson, and Maxwell Senteney; teaching artists ebere agwuncha, Victoria Boateng, and Tom Lee; theater artists Rammel Chan, Nina Castillo-D’Angier, and Kristin Idaszak; and visual artists Jess Atieno, Leasho Johnson, Fern Logan, and Odette Stout. The organization will honor the new recipients on Monday, November 10 at 5:30pm at the Harris Theater for Music and Dance, 205 E Randolph Street.
Tickets to the 2025 3Arts Awards Celebration include a welcome reception, awards program, and a jubilant after-party. Tickets cost $150-$300 and are available at 3arts.org/tickets. Funds raised during the event will be split between 3Arts and Chicago nonprofit Center for Native Futures.
read the full press release here ->
2/3 - As Ever, In Orbit | Jupiter Benefit Auction 2025
My work was featured in the Jupiter Benefit Auction 2025 hosted with Artsty.
“Jupiter is delighted to announce its debut benefit auction, titled As Ever, In Orbit, taking place exclusively on Artsy. Spanning painting, sculpture, and photography, the sale gathers 18 artists from across the globe whose work exemplifies the sensibilities we hold dear at Jupiter. They strive, as we name in our mission statement, to not only witness the world shift around them, but to be active architects of the world they wish to inhabit. Those included in this sale harmonize with our clarion call to create conditions that beget more viable writing lives for cultural critics by championing the exigent role writers play in the broader project of transforming the contemporary art world into a site of nurturance for artists across disciplines.”
about the work: soft bind (2025) by artist ebere agwuncha, is a sculptural memory that calls to the igbo technique of binding hair with nylon thread to lengthen it through a protective style; a hairstyle that the artist’s mother would do on her often as a child. The copper thread and woven reed bind to connect with hair (horsehair) at the base of the work.
view the work on Artsy here ->
3/3 - “ebere agwuncha’s cenobitic praise songs” by Camille Bacon ->
“A feature of the artist ebere agwuncha who explores the regenerative, spiritual, and communal dimensions of material culture.” take a read of this wonderful essay written by a dear one, camille bacon via Sixty Inches From Center.
“... agwuncha’s artworks are cenobitic praise songs whose rhythm revolves around the Igbo principle of “eliminat[ing] the product and retain[ing] the process so that every occasion and every generation will receive its own impulse and experience of creation.”1 To this end, the sculpture (“the product”) is not satisfied with sitting inert and untouched. Like any alive thing, it calls out for touch, it yearns to be emptied and renewed. Like any reincarnation of history, it tugs on velvet rope to ring the bell of generational rememory. As such, the artist invited all who visited the exhibition to partake in a ritual (“the process”) in which they poured water from the owoko into glasses and offered it to the mound of loam upon which the sculpture was placed. Here, a means of coaxing whispers out from the earth’s core.”
read the full article here ->