In May 2026, a photographer working in the Abossey Okai neighborhood of Accra, Ghana, began a project to highlight female athletes within the local boxing culture. While documenting the sport, the photographer observed that public displays—such as graffiti, murals, posters, and signs—almost exclusively featured male boxers. This observation prompted a deliberate effort to integrate female subjects into the visual history of the sport.

The project centers on the idea of creating an "archive" of boxing that includes women, effectively challenging the male-centric nature of the existing street art. By photographing amateur boxers, such as Elizabeth Boakye, in the same environments where male boxers are traditionally celebrated, the photographer seeks to ensure that women are recognized as a legitimate part of the local sporting landscape. The initiative highlights the disparity between the active participation of women in boxing and their lack of representation in the public visual record. The photographer notes that while they cannot control whose faces are painted on the city's walls, they can document female athletes to ensure they are included in the broader narrative of the sport.