Allan Kyakonye is a 1991 Ugandan born visual artist with a Bachelor's Degree in Fine Art and Industrial Design from Makerere University in 2015.   The egg potrait series is one of the projects the artist has worked on with the works being characterized by their oval shaped primary framework and use of aluminium foil as canvases on which the works are executed. The egg being a universal symbol for new beginnings or new life delivers a backdrop for the personalities Allan depicts using egg tempera of his own making. The potraits of queens, kings, politicians and other decisive leaders appear as centerpieces in a medallion which itself signifies power since renaissance.  

 ​He chose to use aluminium foil, a material he collected at an early age with an aim of selling it to scrap dealers like many other African kids do but without success later incorporated into his art practice. He fixes layered pieces of crumpled aluminium foil onto canvases and treats it with fire causing different shades as seen in his works. The use of fire creates another allusion to the proverbial meaning of his name Kyakonye. In a subtle move, the potraits cease to be sorely of historical figures and start creating invisible bridges across time and space; opening up a multiplicity of pathways imaginations and storytelling.  

Allan used his new residence at 32 Degree East to begin research and compose stetches for his new concept "the first ceaserean." Images from the mid 1800s suggest that ceasereans were being performed in Bunyoro Kingdom atleast 10 years before the first successful ones in the Western world. Some literature suggests that the first ceasereans were performed among the South East Asians and the Middle East. Something that gets Allan to question himself other histories and culture. Under what circumstances were the ceasereans performed? Should we sacrifice the life of the mother for that of a potential King?

He is currently working with potential risk as expression. Sharing his immediate reference as transcending images from albums whose practices express his autobiography as a long time interraction. The introspective in form of collage questions changing opinions instilling values and translating experiences across space and time.