Artist Statement

My work delves into the mysteries of identity that are shaped by time, space, and multicultural experiences. I'm interested in how forms contribute to an art piece's aesthetic and overall engagement. The chaotic arrangement of objects in my work is an aesthetic definition of repurposing and recontextualization of objects composed of multiple individual signs. It's a quintessential mode of value between the objects, the viewers, and me as the post-producer. My paintings are inspired by Giorgio de Chirico's metaphysical composition of items, Giuseppe Arcimboldo's sense of humor with objects becoming the facial definition of the portraits, Rachel Harrison's dramatic juxtaposition, David Hammond, and Constantin Brancusi's ambiguous and satirical creation of forms, and Marcel Duchamp's critical emphasis on the artist's role in decision-making. The invented patterns in my paintings are inspired by Ghanaian fabric and suggest my nostalgic experience with the Key Soap Concert Party, which was a popular comedy show in Ghana in the 90s. It discussed current political and socio-cultural issues in a surrealistic way of telling stories. The facial decorations of the actors in the show were very creative, and I appropriated them to engage the audience similarly.

My painting style is influenced by how Duchamp and Brancusi used sarcasm to examine forms and objects critically. I use the surrealist technique of juxtaposition to explore my diasporic experience and cultural assimilation. In my paintings, I create portraits that serve as monuments to individuals' memories and reflect present culture, society, and archival impulse. I'm inspired by the history of portraiture, especially by sitters who had cultural, sociological, and political relationships with objects in their photographs and paintings. My symbolic portraiture mainly focuses on self-portraits and portraits of friends and family. I use photography as the initial stage of my work to present the body as a critical object. My paintings investigate the relationship between individuals and objects and express the status and values of the individuals in the picture. They also expand the autobiographical narratives that underline their personal qualities. 

My sculptures are realized utilizing the common Ghanaian cultural practice of repurposing broken materials into new products. Growing up in Ghana, there were electronics and appliance shops everywhere, but despite these sources of commodity exchange, there was always a belief that all broken objects still have value. As an artist, I incorporate this viewpoint into my practice. Memories are transformed into a continuous experience with everyday objects and materials, whereby I navigate issues of commodity and utility by weaving and joining materials and objects. My work references the geographical, cultural, psychological, and material space of both Ghana and the US with the use of found objects collected from thrift stores and friends. The manipulation of the objects expresses how history contributes to the aesthetics of art forms. I am interested in how objects allow me to investigate cultures and the significance of human history.