A studio visit of contemporary Ghanaian artist Seth Clottey......by Indian visual artist Manisha Vedpathak

 

I was glad to have a second chance to visit Ghana in November 2022. I had been there before Covid and had done a few studio visits of Ghanaian eminent artists and as always intrigued with the workspaces of artists, had planned to do the same this time as well, along with other activities.  November and December were a complete art treat for me as there were many exhibitions taking place in the city of Accra, the capital of Ghana. Met old artist friends and met some new artists as well.

This time in my list was the studio of eminent artist Seth Clottey, a distinguished name on the Ghanaian art-scene.  I never had a chance to meet him personally during my stay in Ghana but had always felt that he has an aura of authority, superiority and positivity related to art. I felt this aura even when I called him to fix an appointment to visit his studio.

 A dynamic Ghanaian artist, Seth Clottey has been prominent in the art world of Ghana for over two decades. He was born in 1960 in Accra where he currently lives and works. He obtained his diploma in arts at the Ghanatta college of Arts in Accra.

His paintings are vibrant and shows his commitment to a wide range of subjects, from market scenes, through beach scenes, city-scapes. As an artist, he has truly made a significant contribution to art, always demonstrating an unwillingness to copy the popularism or settle for the mundane. Seth's strength is in his quiet disposition and beneath his urbane exterior are a passion and commitment which are seldom evident in artists of younger generation.  Seth is charting for himself and his generation, new challenging standards marking him out as a leading catalyst in the current art world. He also has a fondness in sculpture, which he sculpts himself with eagerness just like his paintings.

His son Serge Attuquaye Clottey, a talented artist is making a name for himself at home and abroad. His daughter is also learning art under his own guidance. Seth Clottey has held a number of exhibitions in Ghana as well as outside Ghana and has taken part in a few shows for various charities. His works can be found in private and corporate collections across Ghana, UK, Europe and USA. 

His studio is based in mountains in Nsawam, an hour and a half drive from Accra. A two storey building, studio and family house are situated upstairs whereas he has created space for residency downstairs. Lovely green area with perfect atmosphere for residency, I must say. He also has an outdoor place like a balcony from where one can have a good view of Nsawam though it will be blocked in a few years with the construction happening there.

Seth Sir is a very gentle, refreshingly quiet and has a very deep voice. The studio was full of vibrant paintings though he says most of them are taken away as soon as they are completed. I was also greeted by his lovely daughter Naa Anyemah, who is entering the art field under his guidance. We had such a friendly talk starting from his art journey to the art scene in Ghana.

Thank you, Sir, for the precious time. To begin with, I would like to know about your art journey right from the beginning.

 I had just finished the school when my father passed away leaving 7 children behind him. Immediately all the pressure was on me as I had to take care of my siblings. I was good at art so I decided to pursue art and meanwhile started taking jobs to make money. I pursued an 18 months course called OIC Opportunity Industrialisation Centre in Accra. I remember our first lesson was constructing letters which I picked well and started taking Saturday jobs doing signs for people. The course followed job training for 3 months and I decided that I want to go deeper into art. I enrolled into a course of 3 years in Ghanatta Arts School which no longer exists now. After completion of the course, I stayed back for 1 more year to teach the other classes. One of my classmates of Nigerian origin who was also into art invited me to help him with a job. I stayed there for some time but I needed to come back. But he found a job for me to work with Secretary of Business. I did all kinds of jobs apart from Graphics job for a couple of years but I wasn’t satisfied. I had an urge to come back to my art. Some geniuses from the teaching school encouraged me to take this decision and I moved back to my studio. I have been working till date.

I am very curious to know how you developed your style.

Coming back to the art world, I realized that you need to identify yourself with your work. It took some time; I had couple of shows and was trying all possible ways. In the process I realized what people like about my work and I focused on that area. That is where I developed the technique and my style. Since then, I am stuck to it. I remember, in one of my major shows I did a couple of different styles but Prof. Glover of Artist Alliance Gallery advised me to work in one direction which helped me a lot in future. So, I can say that he actually helped me develop my style. I work in impressionism style. I am not interested in realistic.

You mentioned earlier that some teachers influenced you to come back into the art world, are there any other artists who has influenced you in your journey?                                                                    I had a friend, who was also my classmate and an artist, Samuel Adoquei, now based in New York. When we were doing course together, we all used to say that he can do no job better than art. Most of the time I use to watch him doing art. The comfort, the freedom in the work made me stick to him. He has influenced me a lot. We were friends and we used to discuss art most of the time. We started from school and our friendship has grown till this stage.

When you are in a certain form, the references are looked for. Did you ever look for the reference outside the art world?                                                                                                                        There are a lot of references. When growing up, I was very fond of magazines and comics, had a lot of them. The illustrators of these magazines have influenced me to a great extent. Music is a part of my life as an artist. The rhythm actually leads the painting. It fuels my work.

How will you describe the subject matter of your works?                                                                 My subject matter is derived from daily life. Initially, I use to get inspired from the pictures I took  on my camera but growing up I realized that my art is sharper than the camera. So, whenever I move around and find something striking, I record it in my memory and back in my studio I start working from the memory depending on the subject.

Many artists do the sketching on the spot when they are out or they do it before starting a painting. Do you also sketch?                                                                                                                    I work directly with the knife. Over the years I have realized that sketching before restricts your work. I see the knife as my weapon and the canvas as my enemy. Whenever I see my enemy, I want to cut it down with my knife and put up my impressionism style on it. So, everything is recorded in my mind.

Do you always visit places to record the scenes that you want to paint?                                          No, I don’t do that. Over the years I have studied all the markets at different places. If you look at West Africa, the setup of the market is almost the same everywhere. If I am doing a market scene and I know the area, I just capture a little bit of that area and then I add my own interpretation to it. This is the way I work unless I have been given a commission work of a specific area. But even then, I should be allowed to work the way I feel. I don’t like copying, art should be original, it should look similar, not exactly like a photocopy.

We are moving towards your work process. Can you please share it with us?                                    

I would like to give an example. I had a friend over and we were talking about the market; the trouble and challenges in the market. Whilst she was talking, I was reading her mind. I immediately got hold of an empty canvas and created a market scene on it, the movement, the hustle and bustle in the market. I also added my friend to it. It is not complete yet as she had to leave but I promised her whenever she comes back, I would continue with this canvas.

When you start any new canvas, do you underpaint the canvas, may be 2/3 layers or more before you actually start painting.

Yes, I make sure to prepare the backgrounds well. I like painting on the dark background. Then I start painting with a knife. When a wider area of the background is to be covered, a brush is used and then I come back again to the knives.

Do you work on multiple canvases simultaneously and do you work in series?

Yes, I work in series. The first work leads to the second one. When I finish the first work, something strikes me out, I then pick a little portion and develop it into another work. By the time I finish second one, the same thing happens and I develop a 3^rd one. So, one leads into another.

Ok, so you build canvases one after another, but you have a big studio. If you get commission work, do you work on multiple canvases at the same time?

If I get a commission work, I paint 3 or more canvases at the same time. I make sure that first I do what I am asked to do and then interpret in my own way on the next canvas. So, when I do a commission work, I always have an extra canvas painted which has my own interpretation. The more you do, the better it turns out. Most of the time, the client ends up in buying all the pieces.

  

You are a studio-based artist, how much time do you spend in the studio?

I do like outdoors. When I am out, I quickly do something small and back in the studio I transfer it on a bigger canvas. I feel outdoors challenging with the chaos around, people passing by. But I make sure to get the subject in own interpretation. I can spend the whole day in the studio. Even months without going out. I work in the garden that we have, plant something if I have to, freshen up and work in the studio throughout the day, this is my normal routine. But if have a commission work, I cannot sleep. I am not at peace till the work is done.

People of your generation have worked hard with such dedication. Your son is also in the art field and he is making his name in Ghana as well as abroad. I would like to hear your thoughts on this young generation.

When we started as an artist, there were no places where we can sell our art and survive. In the early days of my career, when I was painting at a friend’s house, the whole house was full of canvases. All I use to do was, wakeup and paint. In spite of him saying there is no place to sell your canvases, I use to paint as I loved painting.                                                                                                                                So, I think that we have created a platform for Ghanaian art. We made the industry vibrant. My worry is that some of the young ones cannot do the original works, they all are doing the same style of work. I don’t know if that is the trend, our history book tells us that art is a trend. If you want to last forever, you need to identify yourself and people will know you. But if you follow the trend, it is just passing by. You follow it for 10-15 years and then it is dead. I hardly understand them, it may help them now but not in future. You have to abandon what you are doing if you can’t survive on that. That is not my idea, if I am no longer there, my work should still be relevant to the society or my collectors. So, the young ones must do the art that long last. 

I feel that many young ones are into installation nowadays. What are your thoughts on that?

Installation had been there for a long time but awareness has been created now. I think it’s a big business, people are getting into that. I don’t get why everybody nowadays paints black with red mouth etc. I think it is the trend of the youth and since they are making money out of it, they are following this trend. Looking at the economy of Ghana, if people are buying this art, then why not? In my case, I want my art to last long even when I am not there. In future, somebody may want to research on my works, try to find how I developed the technique etc. I have read about Michelangelo, Picasso and other great Legends. They were on a mission. That’s why their works are standing tall till date.

Do you think the young ones may be thinking that so much has been done in art till now, what is new to be done?

I think what they are doing, has been done before. The whole thing is like a rotation, it goes and then come back like in the fashion industry. It was done before and now its back again. But I want my paintings to last, to be cherished.

How is the art scene in Ghana right now?

It has been developed but without any support from the government. Whatever is done, is done by the artists themselves. Right now, the art scene is a bit down. Some years ago, it was so good that you show a painting in the gallery and the next day it was sold. But this time is quite challenging.

Do you think its because of the pandemic?

 Pandemic was a huge blow everywhere in the world. Art market went down. I use to work a lot. Clients would come to my studio and take away everything and I had to restart again. But there is less pressure now.

Where is your collective base?

I have works all around in Ghana. One of my clients named Michelle, who is an art dealer and has a gallery in Benin, has exposed my works everywhere. He would collect everything from my studio even before I could display them. He visits my studio every month. In fact, he kept me working for so many years and spread my works all over the world.

What are your thoughts on local buyers’ market?

People get to know me outside first and then in Ghana. Some years ago, Prof. Glover of Artist Alliance Gallery came looking for me when he saw some of my works in one of the galleries and asked me to exhibit in his gallery. It took me 2 years to complete 200 works for that exhibition.

Ok, but this is about one individual, in general how is the local buyer’s market?

I think its good. People do collect my works. They are in the Parliament house, some hotels and banks.

Do you think Ghana has enough infrastructure to support the talent that is produced here?

When we started art, there was no place to show our works. The Ambassador hotel which is now Moven Pick hotel, had an outer space where artists use to sell their works. But now things are changed, there are galleries here and there. Some organisations have come up who curate the shows at various places. We also have social media where artists sell their works.

I read about you being a member of GAVA , Ghana Association of visual Arts. Can you tell us more about it?

I was a member but due to health issues its difficult to go out and meet people. I try to stay away and abide to my doctor.

   

You mentioned that you have space for residency here. What are your thoughts on Art Residencies?

There is a place I created for the artists to come and stay. There are furnished rooms, an open kitchen. Residency is ready but I am holding back due to my health. I want to get in the textile designers, theatre people and actually people from all types of art genres. They can fill the space, express what they have and bring new ideas into art. I realize that we have so much of raw material in Ghana which we don’t use. I am glad that my son, Serge Clottey, has found one as I always kept telling him that we are painters but we need to look at something we can use and finally he found the gallons which he uses for his installations. I have participated in some of the residencies curated by Kofi Setordji, the founder of Art Haus Residency. Whenever he organized one, he would ask me to be a part of it and I would readily participate.

Yes, I do admire his works though I never got a chance to meet him. I would like to visit his studio in my next visit.

He is using unused gallons for his installations giving life to it and people are admiring it. We have so much around us. I realize that we, our generation,  happen to commute ourselves in paint. I still want to go with paints as they are readily available. But there is more new material around and this is helping those who want to use them. There is so much material but you need to identify and make sure you work with it effectively. 

Apart from your residency, what upcoming projects you have in your hands?

Right now, I have abandoned most of the projects I had planned due to my health issue. I want to live long so I need to give little time to look after myself. When I am ok, I will continue. I only come to the studio to work daily as an art practice. I don’t have any ongoing or upcoming exhibitions.

May God give you more of good and healthy years ahead. Now that your son is already into the art field and one of your daughters is also learning art under your guidance. What will be your advice to the young ones?

I would say, if you choose to be an artist, you need to question yourself if you really want to be in art and how long and how tall you want your art to take you. Art is dedication. Do not copy what you see, but be in your studio for long hours and you will do something great naturally. When you are in the studio, the canvas is talking to you and you have to use them to your advantage. And then the sky is the limit.

Thank you so much for your kind words, Seth Sir. And thanks for the precious time. 

                                 From left to right, Artist daughter Naa Anyemah,  Naa Botor , Seth Clottey

We then had photographs with his daughters and his daughter showed me the works she did. I think that she has a promising career.

Seth Clottey lives and works in Accra, Ghana.

  

Studio Visit of Ghanaian contemporary artist, Kofi Nduro Donkor.....by Indian artist Manisha Vedpathak

I left Ghana(West Africa) in Dec, 2014. Never thought that I will ever visit Ghana again in my life. But since 2017 my husband kept visiting Ghana for his consultancy and here in 2020 I got a chance to open the pages of my life I spent in Ghana. I was excited to visit all those places I had been while in Ghana and recollect my memories. I stayed in Ghana for 14 years so Ghana was my second home and has a very special place in my heart. It has given me an identity of an artist. My first exhibition was held in Accra,Ghana. Ghanaian art and culture has a great influence on my art.

There are many people who write about their visit to Ghana but as an artist I wanted something else.  I wanted this visit to be memorable in an artistic way . I have always been intrigued by artists and their work-spaces so decided to visit Ghanaian artists in their studios and celebrate the creativity of Ghana. I was glad to have been able to visit some of the studios and chat with the artists with the help of some of my artist friends, Directors of Foundation of Contemporary Art, Ghana,  Ato Annan and Adwoa Amoah . Through this blog I intend to bring forth a few Ghanaian artists and then will continue to do studio visits of the artists from my hometown, Pune. I will look forward to meet some more Ghanaian artists in my next visit to Ghana .

Artist Kofi Nduro Donkor, one of my mentors in art from Ghana and a very gentle and lively personality. It was such a pleasure to meet Kofi again after 5 years. He adviced me on everything related to art,right from brush techniques to stretching to small tips of Art business. I had always felt his positivity very inspiring. After years of sheer dedication today he is one of the top selling artists from Ghana.I feel privileged to meet such a soul.

Kofi had his studio in cantonment area when I was in Ghana .The studio was located behind my daughter’s school so was easily accessible. I visited his studio not only when I had difficulty in art but also when I just wanted to see his painting process. Now he has shifted it to his newly built house. I was really happy to see him so proud of his house. Co-director of Foundation of Contemporary Art , Ato Anan accompanied me to his house. His house is on the outskirts of Accra just before Casawa, still under construction. It’s located at a higher altitude with clean air and gives a beautiful view of the surrounding area. As soon as we entered his house I was caught with large body of works with vibrant colours which evolved around the theme of everyday life scenes among which was my favourite market scene. His works show how deep he is in the African lore.

It was a friendly talk with Kofi. He took us around in the house before we settled down with a bottle of water for our informal chat.

Thank you for having us here. To start with, we would like to know more about you and your background.

I knew that art would have a special place in my life at a very young age . When we were in Accra one of our family member came to stay with us who use to draw and paint. I was greatly inspired from him to become an artist.. After my elementary school, I wanted to do something in Art but like many other parents , my father was against my decision. So to join the Ghanatta college of Art and Design in 1982 , I had to work to support the college and I did that by selling newspaper on roadside. My father didn’t know about this. Once we students had to exhibit our works and ithad a coverageon  television news channel. My father heard when my name flashed as a participant and he was filled with proud feeling for his son and never stopped me from doing Art after that. Though I didn’t complete the school due to financial constraint and thus have no certificate in Art.

I had my first successful exhibition in 1992 at Golden Tulip Hotel, Accra. From that time on my life as an artist changed. Before this exhibition I was already selling my smaller works at Arts Center, Accra.

How do you navigate through the art world?

I have an active account on Facebook and Linkedin as well. I have successfully sold my works through Facebook. I regularly post my new paintings and people appreciate it. Interested people  contact me directly. Though there are ups and downs sometimes. Sometimes people commission the work they see on Facebook in their desired dimensions.

During your journey as an artist, were you influenced by other artists?

In my college days Mr Apekoh mentored me. In my initial days as a young artist I was studying and observing all the great artists who visited Arts Center in Accra. Wiz (Wisdom Kuduwor) has influenced me and given a lot of encouragement. I love the energy of Prof Abelede Glover. I learned from him how to keep working as you don’t know when a buyer will come for some of your artwork. We are not only working for ourselves but for the future generation. What are we leaving behind? I want my grandchildren to see my works and feel proud .I do have some works which I am not selling as they are my family property.

Coming out of an art college you are required to create art in a specific way, some create the works that sell. Is that a determining factor in your art creativity?

As an artist you have to survive by selling your art. But in my opinion don’t sell all your works. Keep some to yourself which will in future define you.I sometimes gift a work to some clients and in return they bring more clients. Sometimes you have to make some works that will sell but as you are doing that you have to measure your work, it has to stand test of time.

How did you develop your style? What are the subject matters that you handle?

I would like to leave that to art writers. I just paint whatever comes to my mind and not think of painting in a particular way. Over a period of time people do recognize me from my art. For me it comes naturally. Most of the time ,I paint through my imagination. People are painting big scenes, market scenes but I paint through my perspective, my imagination. Sometimes I paint from a photograph, people will not be able to actually recognize the place but they will surely like it.

 

What is your creative process?

Sometimes it’s a headache what I am going to paint. Sometimes I work and destroy it. Sometimes I don’t know the destination. Sometimes I start in the middle of the night when some idea strikes me.

What media do you work in? What tools do you work with?

I have mostly worked in acrylics. I use brushes and knives.

  

Do you work in series?

Not always. But if a painting is a big scene then I work on a number of canvases at one time.

We have seen very vibrant paintings of yours and there is so much movement and happening in your scenes like the market scenes and beach scenes. The themes include mostly African’s love for music , dance and social gatherings. Do you always paint what you see or observe ?

Definitely I am fascinated with these scenes. It comes from the observation of everyday life. When I am not painting I go around the city and some scenes fit in my mind and when I get back to the canvas I work from my recollection and imagination. As an artist some of the old symbols do appear in my paintings. I feel whatever comes to your mind, just do it.

When do you think that the work is finished?

According to me , artist has to know when the work is finished. I know which of my works are still not finished which you may find complete. But in such times I keep these works aside and come to it later on.

How much time do you spend in studio?

I am in my studio from morning 7am to 3pm but sometimes I get bored and don’t even pick a brush. Then I go round in the town , meet friends , do family chores. But when there is an urge I work like a horse and it doesn’t even pain.

How is the artist community in Ghana?

There is no place for artists to come together and discuss art. Everybody is busy minting money. In my opinion young generation has to work on this issue.

Where is your collective base?

My collective base is in Europe, Africa and mostly in U.S.  

How did you break in to the international art?

There is an art collector from U.S who came to Ghana for some personal work. I got introduced to him and through his contacts I was introduced to the galleries in Brooklyn and Maryland. That is how my artworks reached U.S.

What are your upcoming projects?

There is nothing like a project but my works will be showcased in a group exhibition in March 2020.

What are your thoughts on Art fairs and Art Residencies?

Every artist wants to meet new opportunities to show their work. Some are fortunate to grab these as they can afford but others don’t get sponsorships to enter these Art fairs. Getting funds is difficult in this side of the world.

How is the Art scene in Ghana?

It has a bright future. I believe that art is for common people and should be shared with them but unfortunately art is a luxury here.And still I think it has bright future.

What would like to convey to the younger generation of artists?

Paint your heart out. If you are serious and a patient artist , your art will be appreciated. It is like a football. You aren’t playing for yourself, you are playing for people to appreciate. Become a master of what you are doing.

Kofi Nduro, born in 1964 in Tarkwa, the Western region of Ghana, has had numerous art exhibitions hosted for him in his own country as well as in Europe and America.His works are widely collected. He stays and works in Accra.

His works can be viewed here: .https://www.facebook.com/kofi.donkor.9

Studio visit of contemporary Ghanaian artist Wisdom Kudowor......by Indian artist Manisha Vedpathak

I left Ghana(West Africa) in Dec, 2014. Never thought that I will ever visit Ghana again in my life. But since 2017 my husband kept visiting Ghana for his consultancy and here in 2020 I got a chance to open the pages of my life I spent in Ghana. I was excited to visit all those places I had been while in Ghana and recollect my memories. I stayed in Ghana for 14 years so Ghana was my second home and has a very special place in my heart. It has given me an identity of an artist. My first exhibition was held in Accra,Ghana. Ghanaian art and culture has a great influence on my art.

There are many people who write about their visit to Ghana but as an artist I wanted something else.  I wanted this visit to be memorable in an artistic way . I have always been intrigued by artists and their work-spaces so decided to visit Ghanaian artists in their studios and celebrate the creativity of Ghana. I was glad to have been able to visit some of the studios and chat with the artists with the help of some of my artist friends, Directors of Foundation of Contemporary Art, Ghana,  Ato Annan and Adwoa Amoah . Through this blog I intend to bring forth a few Ghanaian artists and then will continue to do studio visits of the artists from my hometown, Pune. I will look forward to meet some more Ghanaian artists in my next visit to Ghana .

                                                                 Wiz Kudowor with Ato Anan

During my 14years of  stay in Ghana I didn't get a chance to meet Ghana's most respected contemporary artist, Wisdom Kudowor, popularly known as Wiz in the artist community.  I was always very fascinated with his bold canvases and the Adinkra symbols and figures and faces used in his paintings. Wiz Kudowor has been exhibited in solo and group shows for almost 30 years with exhibitions in Africa, Europe, Asia and the U.S. His works are held in prominent public and private collections like the Ghana National Museum, the Ministry of Culture in the China, the Osaka Prefecture Contemporary Art Collection in Japan and the Africa-America Museum in Dellas, Texas, U.S. One of his widely known artworks is the public Relief Mural at the Kwame Nkrumah Museum in Accra, Ghana.
So when Co-Director of Foundation of Contemporary Art,Ghana and artist Ato Annan helped me to get an appointment to visit his studio I was very excited. His studio is in Dzorwulu, a part of Accra, capital of Ghana.
The informal chat with Mr Wiz Kuduwor was very interesting and inspiring for me as an artist. His approachability made it easy to ask him about his early days, his career as an artist and everything about art.

Thank you for giving us time to visit your studio.To start with we would like to know about you and your background.

I have been an artist all my life.From very early age I was drawing and painting. I grew up knowing that I would be an artist anyway. When in high school art was my main thing. I applied to College of Art, Kwame Nkumah University of Science and Technology, Kumasi but my father wanted me to pursue something else. So when I got admission I packed my bag and left the house without informing my parents. Of course later on I informed them through letter. After college I came back to Accra to set up my work place but then realized that money was needed for that.So I entered into teaching. I After 6 years I decided that it was enough of teaching and need to practice art. I started with textiles , screen printing and designing for textiles.This was how I was self sufficient.

What type of designs were you making and do you still find those in your paintings?
Yes. They have not gone anywhere. i was printing large volumes of textiles and then I started making clothes . That's how I found line to generate income to establish myself as an artist.

Was there a point where you started seeing yourself as a fashion designer?
I was actually in the line. But then when I took commissions I was difficult to meet deadlines as I was only designing and had no control on those making the clothes so I decided to get back to my canvases.

Your journey was quite artistic. So when and where was your first exhibition?
My first solo show was in 1990 at Art Center, Accra. With no sponsorship and all the promotion work handled by me , it was a huge success. I also got commissions from it and that is how my journey actually started .

You are called trans-cultural visionary . Can you tell us about that?
That is the term people use to describe me. Everywhere I travel to, I try to see what is there which relates to the place where I come from. That's how I connect different cultures into my painting. I feel like I am a global person. But at the same time I don't want people to forget that I am an African. I am a human being first and humans are same all over the world.

Your works are modern but at the same time traditional. Symbols relate to tradition of Ghana.
It's where I come from. I can't loose my identity as Ghanaian but at the same time I try to look beyond that. The instance of using symbols was when Professor Glover came up with collection of Adinkra symbols. It makes a whole lot of sense with meanings they carry.Everywhere I go I try to see what all those symbols mean and how it relates to the ones we have here.

How did you develop your style of painting?
I don't really try to make it a style. It is me. Whatever comes out of me is this and people relate that to me.Sometimes I get a lot of criticism that I am not consistent. But there is a lot to explore in this world and as long as I explore genuinely I am true to my work. Whatever I do is for me, to express my self . I was defining myself along the lines after my first solo in 1990, but then I started travelling. That was the time when I was looking around seeing the world and thought what I was doing was restrictive. It started choking me out and I needed to free myself from it. I just went and expressed whatever came out of me and it started flowing. I have never looked back again.
There are lots of rollers and knives seen in your studio. Are these the only tools you use for painting?
I am a free spirit and freely explore any ideas that come to me. So when I wanted to achieve textures in my works , I decided to find different tools not restricting myself to brushes. Thats how I started using knives and rollers . I don't use brush at all.

How do you navigate the art world?
I am redesigning my website . I am active on Facebook and Instagram.

Are you influenced by other artists?
I have been inspired by works of some artist but yes never tried to work like them. Among'st my lecturers Ato Delaqui had a great impact on me. I use to work for him. I use to help him stretch canvases . I liked going to his workplace just to be with him and see how he works. Ibrahim El Salahi is one artist whose works I admire. But surely they have not defined me.

When you are in a certain form the references are looked for. Did you look for the influences outside of visual art? you have mentioned about textile. Did you bring your textile influences in your painting?
I love Ashanti region. While in college I frequently visited Ashanti region. Most of my inspiration came from there. Especially Adinkra fabric that are used there.

  Are you reading, listening to music or looking at particular thing to fuel your work?
Yes, music has always been a part of my journey. If I had not been an artist, I would have been a musician. But surely now I am in a comfortable place. I also read a lot.


Cultural ConfluenceHow will you describe the subject matter of your paintings?
It changes with time. Depends on where I am and a lot of other things. Lately it has to be about spirituality.Sometimes life pushes you to look closely to find yourself at different levels. I am now looking at closely. Presently that's where I am when we talk about the subject matter.

Can you share with us the process of your painting.
I don't like blank canvases. That is the most difficult fight I have with the canvas. Sometimes ideas come sketches and then I explore it. Most of the time I go to canvas directly. Though I do have the thing in my subconscious mind. So I will say that even if the work is a spontaneous work it still comes from your subconscious mind.I find it more exciting to work in that angle.


Folklore, Tree of Wisdom

Do you work on multiple canvases at the same time?
I use to but lately I don't as not much space in the studio now. ( His studio is full of such colorful and bold paintings as you can see in the images above) 

I would like to ask you a question which many artist face and that is when do you know when the painting is finished?
It's really never finished for me and its the same I believe with all the artists not just the beginners. When you are not sure it is good to put it aside for some time. Even a small brushstroke can change the whole painting.

You are a studio based artist , how much time you spend in the studio?
I used to get to the studio at 6 am and leave by 7 pm but now I come a little late. Sometimes I just come to sit here and reflect.

People of your generation work very hard and with dedication unlike some young artists. What will you say about that?
Yes, I work regularly and not only towards an exhibition. You ask me for my works anytime and I will be able to give collection of work that will reflect me.

What is the art scene in Ghana?
There is no industry in Ghana unfortunately though some young ones are trying very hard. We have very creative people here , we just need support to put ourselves on that pedestal. Some people are trying to put the structures together to do that and I am very happy to support anyone in that line.

How is the artist community here in Ghana?
The young ones are doing very well  by coming together.  I am too traditionalist to relate to what is happening now. I think every era has determined how the art form should be and I agree to that. I am happily ready to help out if needed as its the community.
I am a studio based artist. I am involved in founding of some institutions though I am not very active.I rather like to stay away and be more committed to create art. 

What are your upcoming projects?
I don't focus on projects. I just paint.

Where your collective base is?
Not in town. Actually rest of Africa and Asia. I wish I could get a lot more people from Ghana collecting my works but somehow its still not working.

Have you ever thought of doing art practice out of Ghana?
No. when I graduated from the College of Arts, I applied to do Masters and got admitted to Temple University in US. But after 1st semester I left as that was not for me.

What do you think of art fairs? Have your participated in any art fair?
No. In US lot of people travel to art fairs. Its a way to advertise yourself. Though I feel that self promotion is good and I did that in the beginning to get to certain stage, somebody else doing your promotion does work and Art fairs are helpful  towards it.

Is art funding necessary?
It is but I believe we just support the artists to find their value .

What will be a piece of advice for the upcoming artists?
You just work from your heart. If work needs you to represent you, your heart needs to be there. Most of them work towards the sale and I don't blame them but again I would try to get them to add a little bit of heart. Then and then your work will appeal the people.

Born in 1957 in Takoradi, Ghana Mr Wiz Kudowor live and works in Accra, Ghana.
You can view more of his works on his website:
www.wizkudowor.com