Beya Gille Gacha maintains a particular and emotional relationship with the body of her works. Her sculptures are true doubles that she creates on live models. The artist thus takes the responsibility of including them in a narrative about the exorcism of past traumas, even epigenetic. With the series of "Orants" and "Coupe les bras, coupe l'histoire, coupe le pouvoir", Beya re-appropriates an ancient iconography as well as a traditional know-how from the Bamiléké culture. The artist conjures up childhood traumas by starting from the malaise generated by irrational expectations from certain modes of education. Beya questions the links between the past and the present through codes linked to the postures or attributes of her pieces. But the main tool of this research is embodied in the revival of the art of beading. In doing so, she returns to the history of the seed bead. By giving the value of gold to the objects covered with it, the pearl was a currency of exchange in the West African trade. Beya Gille Gacha thus turns the devaluation of the human being on its head by covering her doubles with this same pearl with a chilling history. She questions the place of the individual in front of the object and returns to the essence of what should count: the living being and the future. Beya's works break through glass ceilings ranging from gentle rebellion to the most prominent references in the continent's history.