COLLECTOR’S SERIES

Justin Bank: Lydia, 2024 seems to have been an incredible year for you. Can you share some highlights from your work and initiatives this year?

Lydia Haile: Thank you! It really has been a transformative year. I’ve been fortunate to focus on community initiatives that matter deeply to me. One highlight was organizing a conversation between the police chief, the mayor, and our community to address challenges in San Francisco. I’ve also supported visual artists, especially those from underrepresented backgrounds, and created opportunities to spotlight overlooked cultural narratives. What I’ve loved most is making spaces in exclusive places, making sure it’s accessible and inclusive to all artist. It’s been about bringing people together and amplifying voices that don’t always get heard.

Justin Bank: Facilitating a meeting between the Mayor and the community is no small feat. Why was this effort important to you?

Lydia Haile: "For me, it’s personal. Growing up as a minority—first in a small German town and later in the U.S.—I didn’t often see people who looked like me or shared my experiences. San Francisco is no different; our community here is small, and our voices often get overlooked. This meeting was about making sure we’re seen and heard. It was a chance to shine a light on the unique challenges we face and start a conversation about solutions. Beyond that, I wanted to recognize someone from our community for their contributions to the city, I new immigrant whose done amazing job in the city as I wanted other new immigrants to get inspired and know they too can accomplish their dreams.”

Justin Bank: But you’ve done so much yourself. Why didn’t you want the recognition?

Lydia Haile: "Honestly, I’ve already achieved more than I ever imagined when I came here. I moved from Germany on my own, with nothing but ambition and determination. I put myself through private school, started my own business, and have experienced so much of what life has to offer. I wanted someone else to feel that sense of accomplishment. It’s not about me—it’s about showing the next generation, especially immigrants, that success is possible. If I can be an example, I hope it inspires others to believe in their own potential."

Justin Bank: You also hosted a fundraiser event for the Mayor. What inspired you to take that on?

Lydia Haile: “The fundraiser was about building relationships between policymakers and the diverse communities in San Francisco. I believe in supporting leaders who prioritize inclusivity and cultural representation. I wanted to make sure that minorities had a voice at the table.

Another motivating factor was supporting Lateefah Simon in her congressional campaign. With my international background, I care deeply about global issues, especially in East Africa. Supporting leaders who advocate for peace and equity—both locally and internationally—is important to me.”

Justin Bank: You’ve done so much this year to promote art and culture. What sparked your interest in working with artists?

Lydia Haile: “About 15 years ago, I started going to art receptions after work—drawn in by the conversations, the energy, and the people. Over time, I became close to a number of artists and felt a pull to support them however I could.

Living in San Francisco, I often felt the absence of cultural diversity—especially when it came to art from the African Diaspora. Coming from that part of the world myself, I felt a responsibility to bring our stories forward. The artists I work with are often refugees, immigrants, or from formerly colonized regions. I understand their journey—I’m a two-time refugee and three-time immigrant. One conversation with the artist Tesfalem Atenaw hit me hard. He sent me a photo of what he called a “gallery” in Eritrea. When I saw it, I broke down. It made me realize just how much was missing for artists —basic supplies, electricity, even water. Some are questioned for using water to paint when it’s needed for survival. And yet, they create. Despite the odds, they keep going. People call them crazy, but I see brilliance. I couldn’t stay on the sidelines. These artists deserve to be seen—to have a platform, to have their work valued or what I call KIBRI, which is a Tigrinya word for value and appreciation.”

Justin Bank: How did you spark interest in African contemporary art?

Lydia Haile: "I collaborated with art world leaders like Chuck Collins, Natasha Becker, and Paul Henderson to build credibility. I also partnered with a Gallery in East Bay and one of the highlights for me was having Wosene—whose work is in the Smithsonian—praise the artists I represent. That meant everything. If Wosene sees their talent, I know I’ve done something right."

Justin Bank: What impact have your efforts made in the lives of the artists?

Lydia Haile: "One of the most meaningful moments for me came through a WhatsApp message from one of the artists I represent. He told me that other artists had heard about the work I’m doing to support East African artists here in the U.S. They told him, “If you’re getting this kind of recognition without even leaving the country, then maybe we don’t need to leave. Maybe we can just stay and create here.”

That message brought me to tears. The idea that they can see a future for themselves as artists—without having to abandon their home—feels like the biggest reward of all."

Justin Bank: You also found an ancient connection between Egypt and Eritrea ? What inspired it?

Lydia Haile: "It really started with a photo. I saw a woman who reminded me so much of someone from Eritrea, specifically from the Saho ethnic group. But when I looked deeper, I found out she was from southern Egypt. That moment completely changed the way I viewed our identity. I started asking questions—Why do we look so similar? What connects us? That curiosity led me to discover our shared ancient history, which has been overlooked for too long. I had to do a lot of research. I had to confirm a lot of these things myself, and it turns out, I found out that even the Eritrean government confirmed that one-third of its population actually can trace their ancestry back to ancient Egypt. And it’s only 500 kilometers south, so it’s not a surprise that there was a lot of interaction that we still need to explore. I feel like with art, this was a chance to shed some light in that area.

Everyone knows Egypt and the legacy that they left. Medicine, religion, agriculture, and the neighboring countries contributed to that experience, legacy, and history, and not much is known about that. I brought in an Eritrean German researcher who studied the hieroglyphs for 15 years, and he was able to make the connection between Eritrea and the ancient Egyptians. And a lot of the hieroglyphs were written in Tigrinya, which is my mother tongue. Nefertiti means to fly, for example, in Tigrinya, or pharaoh means to fear. And so being able to make that connection, I thought, was a great interest."

Lydia’s exploration didn’t stop at the canvas. Her journey led her deep into the cradle of civilization itself—Eritrea—a region whose history is as rich and layered as the artworks she represents.

She discovered that Adulis, an ancient port city and vital part of the Axumite Kingdom, was one of the earliest known global trade hubs. Goods from India and beyond passed through its shores, and it was here that the region first introduced minted coins—early signs of a sophisticated, interconnected economy. Ceramic artifacts unearthed from the area date back to 1500 BC, offering a glimpse into a thriving civilization that existed long before many others in the ancient world.

But even more awe-inspiring were the stories written in stone.

Eritrea is home to some of the oldest human remains ever found—over one million years old. Among the most compelling finds are the 30,000-year-old stone tools discovered at Abdur, providing the earliest, best-dated evidence for human habitation in a coastal marine environment. These tools hint at early human ingenuity and adaptation—suggesting, quite poetically, that the world’s first oyster bar may have opened on the shores of the Red Sea.

Adding further depth to her understanding were images of rock paintings and artifacts from sites like Baatti Meshul, Hulum Bareto, and Zeban—ancient locations capturing the creative expression of early peoples. These are not only artistic expressions but also cultural records etched into stone.

Her appreciation for this deep, ancestral legacy was enriched through the insights of a friend who directed her to scholars such as:

Nathaniel J. Dominy, Charles Hansen Professor of Anthropology at Dartmouth College, whose work focuses on the evolution and ecology of humans and nonhuman primates.

Dr. Nathaniel Jeanson, a Harvard-trained research biologist, exploring the origins of species through DNA analysis.

These academic perspectives—paired with artifacts like the Sphinx from Adi Gramaten and cultural research shared by historians and scholars online—reminded Lydia of a profound truth:

The land she represents through art is not only the source of ancient stories—it is a living museum, one that deserves to be protected like a UNESCO World Heritage Site.

Justin Bank: You mentioned you couldn’t sleep after making that discovery. Why did it affect you so deeply?

Lydia Haile: couldn’t sleep that night because I realized that we, as Eritreans, carry something sacred. Our traditions, our languages, even our features—they’re living history. But we’re not treated like it.

That’s when I said: our people deserve to be protected the way UNESCO protects heritage sites. Because when most people think about cultural preservation, they think of stone—temples, pyramids, ruins. But what about the people who carry that culture in their bodies and minds? The Saho, the Tigrinya, the Afar—these are walking archives. They live the culture every single day, passing it down through stories, rituals, language, and art.”

Justin Bank: What do you hope people take away from your journey?

Lydia Haile: "Through this work, I want people to gain a new perspective on how ancient cultures—like those from the Horn of Africa—have shaped modern life. There is so much more to explore, so much we still don’t know. My hope is that the next generation, regardless of their background, race, or religion, will pick up where I leave off. That they’ll research more, dig deeper, and continue uncovering the richness and contributions of these civilizations.

And most of all, I want the youth in Eritrea to feel proud—proud of who they are, of where they come from, and of the immense contribution their culture has made to human civilization. They are part of something extraordinary.”

Justin Bank: That’s incredibly powerful. Thank you for sharing this, Lydia.

Lydia Haile: “Thank you. It's an honor to share and I KIBRI you.