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."

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: How did you connect this history to 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?

"The biggest compliment is when an artist tells me they feel seen. Some had never imagined their work could leave their village, let alone be shown in international exhibitions. Seeing their joy, hope, and confidence grow—that’s the real reward. My mission is simple: to give back, open doors, and make sure the stories that shaped me help shape the world in return."

Justin Bank: What inspired this entire journey of discovery?

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."

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.

Lydia’s fascination with the past led her to explore the lineage of the Tigrinya people, tracing roots that stretch across millennia. Research reveals links between their ancestors and broader Afroasiatic-speaking civilizations—connections that bridge cultures, languages, and bloodlines.

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: "Because it made me realize that we, as Eritreans, carry something sacred. Our culture, our traditions, even our features—they're living history. And yet, we're not being recognized or preserved like the ruins of ancient cities or pyramids. That felt like a huge injustice, and I couldn't stop thinking about how important it is to protect our people, our story."

Justin Bank: You’ve compared the preservation of Eritrean people to how UNESCO preserves monuments. Could you elaborate?

Lydia Haile: "Absolutely. When we think about cultural heritage, we often think about stones and buildings. But what about the people who carry that heritage in their language, rituals, and everyday lives? The Saho, the Tigrinya, the Afar—they’re walking archives. They’re just as valuable as the historical sites. I truly believe they deserve the same level of respect and protection."

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

Lydia Haile: "I want people to look at Eritrea with new eyes. To understand that this tiny nation is one of the oldest cradles of civilization. That our people have stories that go back millennia. And I want Eritreans, especially the youth, to be proud—so proud that they carry this legacy forward, no matter where they are in the world."

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

Lydia Haile: “Thank you. It's an honor to tell our story."