STATIONS OF PROTEST

I am Joseph Abbey-Mensah from Ghana and a graduate from the University of Ghana. Sarf Bort is a pseudonym for my art. I am from a community that consists of rich tradition and culture, so art has always been a part of upbringing. I grew a fond interest in expressing my imaginations through pictures and it has been one of my channels ever since. I view each picture I create like a manifestation. It is like seeing magic occur in real time because it first begins as a thought that gathers several ideas and presents itself in my mind’s eye and then after, I am able to see it manifest in real life through photography.

Every image is a representation of how I think. Being a creative fascinates me even at the end of the day, one unique thing about me is that I do not view my art as the artist, I view it like everyone else, every admiration and every critique I do well to contribute to also. I am flooded with some many ideas every day and to see most of them come to life is simply fascinating. It is hard to put a technique to it because it all takes place in my mind. I like to style my subjects and place them in such a way to bring out the exact replica of my ideas. I am deeply inspired by nature and the culture that surrounds me.

Danso Awuah-Asante best known as Artsoul Kojo, is a Ghanaian contemporary artist whose art has gained recognition thanks to his endless cast of characters and personalities; these address a broad spectrum of universal and existential philosophies with childlike appeal. His childlike strokes and elementary shapes recall the simple yet complex imaginations of the human psyche, laying bare the limitless possibilities of how one can perceive the world.

Self-taught, Artsoul Kojo began painting and creating art extensively as a way of dealing with his introverted mind. His work fuses aspects of storytelling and abstract poetry with impressionist and pop-art visual references. With vastly diverse approaches he examines his imaginations applying elements of fine art, sound and poetry.

Bright Ackwerh, (born 1989) is an artist from Ghana. He is a product of the Art Faculty at the Kwame Nkrumah University of Science and Technology where he earned a BFA and MFA in Painting and Sculpture.

Bright’s art stands as commentary on critical social issues and he has contributed to many conversations on various platforms including guest lecturing in classes home and abroad.

His current practice is situated in the fields of painting, illustration and street art and is inspired by popular culture while creating works that challenge the often misplaced power of diverse geopolitical events

Moshood lives in Accra, Ghana, from where he writes across genres. He's been published in a number of publications, both online and in print. These days, he is learning photography.

By contradiction ‘truth’ is compelled to present a spectrum. The nature of a thing, by its intention, or action is set to the context of the environment it draws on. By the range of variables that imprint on our awareness and culture – home, community, place, society, nature – truth, while anchored at the core fringes out, tapping into nebulous spheres where one thing easily runs into, or parallel the other, splitting, contrasting and uniting. Here, harmony turns on contrast, art slips into design, ugliness frames beauty, despair condenses into hope, and action sets memory – history. I’m intrigued by consciousness concerning how it frames our lives; by the outward – nature, environment, body, and the inward – mind, presence, consciousness, venting through layers that activate an elemental process; which engages form, light, material ... Imprinting design on practice entrenches the exploration of ‘matter’ beyond inspiration, extending the sense of work into conversations on circularity, exploring ideas under a concern for consumption and sustainability – in fulfilling ecological responsibility. Anchored yet untethered, themes spiral in a manner where one thing loops into the other; iterating, and delving through the iridescence of matter and perspective in a search probing towards the core.

I am Nana Yaw Oduro, a  conceptual contemporary photo artist from Ghana, Accra.

My work is constantly showing its artistic and poetic vibrations of how I feel almost all the time. 

i was born and raised in the city of Accra, 

My educational journey spans from over a decade I discovered my passion for photography in Uni whilst I was pursuing my marketing studies. Alongside, I developed my skills.

I started photography as a mean of communication. I used to write a lot but people do not really read much these days so i decided photography gave me a more visual way to communicate and have something to show for it. Creating more understanding.

mostly, i aim to capture my emotions through my subjects. since most of what i shoot are personal. i like to put my feelings to work and then fitting that into the colorfulness of my environment together makes the idea visual. this is basically my creative process.

so specifically id say i create bold contemporary photography. A lot to do with feelings, actions and bold colors.

I have worked on a few projects so far in my career which are personal. 

FRUITS ARE FOR BOYS, BOYHOOD, LOST IN THE PLAYGROUND.. are some of them.

Samira Saidi is a half Ghanaian, half Austrian, woman of colour, whose practice has the aim to inspect and shift the sociological structures of race, belonging, and explores the duality of intersectional identities through the body.

A minimalist as heart. I live and breathe design. It’s a core element in my being. As a visual artist, everything I’m exposed to fuels my creativity. I am inspired by human behaviour, architecture, nature, cultures spaces and sustainable design. Driven by the goal of  trying to make an ugly world beautiful in whatever way I can.

Kwasi Darko (b.1991) is a Ghanaian fine arts photographer and mixed media artist living and working in Accra, Ghana and on the African continent. His work uses visual artistry and performance art to create visibility and weave positive narratives for muses usually ignored.