Journeying Through Ghana: Celebrating Contemporary Artists from Ghana.

In 2022 the editor-in-chief of Contemporary Lynx Magazine Sylwia Krason embarked on a trip through Ghana, soaking in the local creative milieu. The journey unfolded with visits to the studios of emerging artists, complemented by forays into art shows, concept stores, and Accra’s iconic landmarks. A standout moment during the journey was the guided tour through the Artemartis studios and residences—an energetic collective pulsating with creativity. Artemartis has blossomed into a dynamic hub, propelling numerous talents into the spotlight as they ascend as stars on the global arts stage.

In 2022, Phillips, in collaboration with Artemartis, unveiled ‘Birds of a Feather’—an exhibition showcasing works by young contemporary artists from Ghana. Set against the elegant backdrop of 30 Berkeley Square, the exhibition invited art enthusiasts to witness the prowess of these emerging talents. As Artemartis continues to shape the narrative of Ghana’s contemporary art scene, this collaboration stands as a testament to their growing influence on the global stage.

Maame Araba Baboa Opoku 

“In dreaming there are endless worlds, escapism is realised yet when we are awakened, the gift of world building prevails, a world within a world,” muses Maame Araba Baboa Opoku. Ghanaian artist, creative director, and collaborator shares her love for searching diverse realms, merging supernatural and realistic ecologies. Using as many mediums as needed to construct multilayered portraits of the worlds tangible and intangible, she couples painting, photo manipulation, installation, filmmaking, performance, sounds, textile and graphic design. Opoku delves deeper into the exploration of  the vast topography of our minds pursuing her Psychology degree at the University of Ghana, Legon. 

Across her practice she returns to the subject of water scarcity in Accra, which has prompted her community to adopt a nocturnal lifestyle. In her introspective exploration, Opoku creates interactive spaces in “Come Hell Or High Waters” with ADA/ CONTEMPORARY ART GALLERY that speak to the community’s tangible and mystical existence. Here, residents wake up in a dream-like state at midnight in the ritual of storing and preserving water. Winning the first edition of the Yaa Asantewaa Art Prize in 2021 promoting women artists in Africa and the diaspora, Opoku completed a 6-month residency with Gallery 1957, which presents her latest solo show. In “Whispers Down The Lane,” she further explores her love for world building, the sensory, insomniatic stages of midnight rising and water rationing. “Spident’s Blanket” is Opoku’s first video work (directed by Christina Boateng) and considers the effects of moonlight, fluidity, cycles, and repetition. Taking the form of borderline abstraction, Opoku invites us to the worlds that exist within and without, asking: is everything connected?

---

---

Courage Hunke

Courage Hunke, born in 2000, manipulates the consumer culture found in Ghanaian streets markets to mark the fleeting essence of life. The artist recycles discarded materials, such as plastic packaging and shopping bags, into intricate objects and surfaces. The artist’s treatment of the materials feels like a gentle take on beauty, environmental consciousness, and memories—referencing people, their culture, and histories. After thoroughly cleaning the packaging, Hunke reworks the recycled materials into intricate surfaces, layering them with paper using a heat-pressing technique. He explores what lies beneath the surface, playing with fragments of text from the packaging as he makes them visible through the delicate layers of newly formed paper, skillfully navigating the line between disposability, their changing nature, and meaningful moments. Through his intervention, Hunke hopes to encourage viewers to contemplate their habits and the transient nature of existence. In 2020, he interrupted his usual pieced-together craft, gradually bringing a series of acrylic paintings. With a critical eye, these pieces address the issue of accusing older women of witchcraft and subjecting them to forced confessions—an incident he encountered in a video. His current body of work sheds light on the injustice faced by women and children in the northern regions of Ghana, rooted in superstitious beliefs and a lack of education on mental health. In keeping with the culture he represents, Hunke draws inspiration from the aesthetic of ‘Bambolse,’ a longstanding tradition of geometric and representational wall decoration in houses in the region. 

---

Emmanuel Kwaku Yaro 

Emmanuel Kwaku Yaro, born in 1995, uses a pointillism technique to bring to life the vibrant inhabitants of Labadi, a coastal town by the Atlantic Ocean. Whether it’s a woman at the market or an elderly man assisted by a group of young boys, Yaro envisions the people he grew up with accompanying him on his artistic journey. Yaro’s hometown stands as a sanctuary, representing the resilience and determination of African society to create and evolve beyond limitations. As he navigates the tension between the past and present, he provocatively questions the edges of the African future. And so, Labadi becomes a powerful vehicle in his art, embodying values of acceptance and freedom from societal judgments about who you are—your body size and type, breaking away from the constraints of a “model standard.” Inspired by the likes of Georges Seurat, Marie-Guillemine Benoist, and Sami Bentil, Yaro seeks to surpass sensory boundaries, expressing his meticulous attention to detail. In his six years as a practising artist, Yaro has earned recognition from esteemed institutions like Alliance Française d’Accra, Efie Gallery in Dubai, and Phillips Auction House in London. Now, having been inspired by his society to become the person he is, he endeavours to reciprocate that inspiration and encourage others to transcend their own boundaries.

---

Awanle Ayiboro Hawa Ali 

“To capture the soul of the dreamer, the woman who refuses to be held back by walls of unrealistic expectations, the woman who seeks beyond the wall,” is a mission of Awanle Ayiboro Hawa Ali, a visual artist born in 1997 in Ghana. Influenced  by a patriarchal upbringing within a strict Muslim family, Hawa Ali grapples with societal pressures and false expectations, especially as the eldest daughter. And so, her process is a critical examination of these challenges, with an intention to defy prescribed norms for women like her. 

On her canvas she paints women donning suits, challenging gender domain, and class distinctions. Her paintings speak of freedom through the use of blue tones, reminiscent of the vastness of oceans and skies. She seeks meticulous details, such as subtle finger expressions, to express relatability of everyday experiences. And with each completed artwork, she utters a quiet prayer, aspiring for women to step into leadership in their communities. 

Despite an initial push towards a career in General Arts and the Humanities by her parents, Hawa Ali’s natural inclination towards visual arts prevailed. Her journey into the art scene and mentorship from fellow artists fueled her rebellion against societal norms that didn’t align with her aspirations. Through her art, she aims to share her experiences and inspire women to break free from imposed limitations, fostering a sense of empowerment beyond societal expectations.

---

---

James Mishio

Working from Korle-Bu, Accra, James Mishio’s (born 1997) work is an ode to humanity. On his canvases, one encounters the beauty of long hair and dreadlocks, captivating men’s portraits, with the tactile application of oil and fabric wielded by a palette knife. The oil on the skin serves to accentuate the opulence of the African individual; his unwavering gaze, a redefinition of interpersonal communication. Drawing inspiration from his mother, who effortlessly communicates with her surroundings through eye contact, Mishio’s work becomes an exploration of human connection.

Mishio masterfully weaves narratives inspired by the poignant story of a young boy denied admission to a prestigious high school in the country due to his dreadlocks and commitment to Rastafarianism and the expressive artistry of Ahmad Cissé, a fellow creative of Senegalese heritage. Cissé’s unrestrained expression, boundary-breaking creative practices, and hairstyle that did not hinder his ascent to the pinnacle of his professional career, served as a wellspring of influence. 

The artist himself articulates the societal impositions associated with his individuality and the constraints imposed by his hairstyle. Seeking connection with those who could illuminate a path to a normalised existence in Accra, away from the stigmatisation tethered to homophobic remarks or prejudicial labelling as a criminal or drug dealer. These challenges extend to professional acceptance, where individuals with unconventional hairstyles, like dreadlocks, often face systemic biases in the job market. And so, Mishio’s “IDENTITY” series pays homage to men marginalised in society, while Cissé’s postures, body language, and photographs seamlessly find their way into Mishio’s evocative paintings, creating a powerful narrative of resilience and empowerment against societal discrimination.

His artworks have found their place within exclusive private collections and have been featured in significant exhibitions, notably ‘Bird of A Feather’ presented by Phillips Auction House and Artemartis. Additionally, prestigious galleries, including the Coningsby Gallery in London, have showcased his works.

---

Abdur Rahman Muhammad 

Abdur Rahman Muhammad’s affinity with Western music, particularly hip-hop, and its influence on the youth of Ghana stems from his observation of opulent lifestyles of must stars. The aspiration among kids to emulate these figures: to lead lives of affluence, freedom from care, and without constraints. This aspiration, however, stands in stark contrast to the stark reality of limited opportunities and widespread unemployment across Ghana. These often drive the youth towards quick and unsustainable means of earning a living, as they strive to “keep up” with unrealistic standards set by Western influences.

Muhammad’s question quickly leads to another; how the dearth of opportunities and rampant unemployment compels Accra’s youth to seek prospects abroad, often resorting to any available means; how, while some manage to travel for educational opportunities and job offers, others embark on perilous journeys through North African countries, enduring extreme heat and dehydration, with many perishing before reaching their sought-after destination, the land of “milk and honey.” Describing his paintings as songs of hope for his people, Muhammad employs oil and charcoal to depict the lives of young men and women grappling with the imperative to succeed, many of whom are victims of circumstance. His artworks have transcended borders, resonating with collectors and gracing exhibitions worldwide.

This article was written in January 2023.