A studio visit of Ghanaian artist C-kle.....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.

My first visit was to Larry Otoo Sir studio where I asked if he can connect me to some established artist from the younger generation and he recommended artist C-Kle . And thus, I reached C-kle studio where I got to know that his name was Clement Laryea and his signature or artist name was C-kle.

Clement Laryea known as C-kle is a Ghanaian artist born on the 15th June 1982 in Accra. He graduated as a Visual Art student who studied theoretical aspect of art. He then continued by learning fine art and sculpture designing through apprenticeship for five years.  C-kle has a passion for painting, mostly portraits in an abstract style. He works in acrylic, oil and charcoal medium. He says his aim is to let the world know that if it can be done, then we can do it and his aim is to exhibit his modern African art all over the world.

An Art therapist, philosopher and preacher of art, he loves to help the less privileged ones. He creates inspiring contemporary art and portraits of people from Ghana, his home country. His work is sold throughout the City of Accra in tourist hotels, malls and galleries as well as internationally like The Parallax Art Fair in London and The Art Revolution in Taiwan. His work has given him continued exposure and sales throughout the world.

I was greeted warmly by C-kle . this was my first acquaintance with him. He looked very determined artist full of humanity. His studio was a separate room in the premises of his house, very much accessible at any moment. His artworks were very vibrant and as I spoke to him, I felt that his paintings spoke the language of healing

Thank you for your precious time. To start with, we would like to know more about you and your artistic background.

C-kle is my signature. You can call it my brush name. Without this name, you will not be able to reach my website. I am native Ghanaian and I call myself Therapist because I provide a variety of treatments through my paintings. Looking at my paintings people say that if this can be done then I can also do it. I send a message through my paintings. Clement Laryea is my name, C-kle is my signature and what really represents me is Art Therapist.

I completed junior and senior high school from 1995-2001. After a year gap I went into apprenticeship for 5 good years. I learned a lot there, like printing T-shirts, doing panels, doing photo backgrounds, video posters etc. I discovered impressionism after my apprenticeship in 2007. And from 2009 I started selling these works in hotels and galleries in Ghana. For 16 years, till date I have been painting and my works have gone all over the world. I am a family man with 3 kids and trying to build up a 2-storey building for my family which will also host a gallery and my studio.

A small percentage of my painting’s sale goes to the street children, the less privileged ones. I have been doing this for last 3 years. My purpose of painting is to touch lives through them. Humanity needs to be understood. We artists are so blessed that a painting can heal somebody. Once they are healed, they need to be fed and after feeding them I preach them, I teach them Gospel. This is about humanity and not about religion. Every soul is a soul. I want to go back and tell the society that if I can do it, they can also do it.

 

I normally gather unused clothes and then we move together with clothes and food to bless the needy, every Christmas. In fact, I plan to do this twice a year, one on my birthday in June and another in the later part of the year. But first I want to complete my building so that I do the charity work further with a clear mind. So, this is why I paint, to gather money and touch lives.

 

Ok, in short, we got to know what C-kle is. Coming to the artworks, how did you develop your style of painting?

Every artist needs to have a goal. I mentioned earlier about preaching the needy ones. I pick a word for e.g.; this piece tells you to be careful of what calls your attention. Think twice and concentrate. When I talk to people, I pay attention and take title from that discussion and I derive my subject matter from it. My original work can be recognized by the embossed marks made during the finishing touches to the painting. 

How do you navigate the artworld?

There are thousands of artists in the field now and thus a huge competition. What I realized was, to some people its not about what they are painting but about who they know. People purchase as they know these artists. But as an Art Therapist I find my way out by doing something new. It doesn’t matter if I know the people or they know me. When you are doing something new, the world will look out for you. I know a quote which says that if you paint what you like, you paint for your soul but if you paint what world likes then money turns you. If you want to hit the international market, you need to be different and have to make sure that your painting carries weight, it has something that will touch the body, the soul and the spirit.

But how do you market your art? I believe you have social media presence.

Yes, I have a website. I normally post my artwork images on Facebook, Instagram, Twitter. When people see the works, they come straight to the gallery where they are exhibited or they contact me.  I communicate with a lot of people through social media which has helped me grow my business.

Are there any artists whom you are influenced by?

I do have a lot of influences. A Nigerian art collector based in USA has a great collection of artworks from different artists. Seeing his collection, I am able to develop a lot of ideas but that has not changed my art style. My technique is the same. Though I take ideas from different artists, my painting style, my brush strokes don’t change. I keep learning from the inspiration from around.

Are you looking at, reading or listening to music to fuel your work?

I am moved by music. I dance while painting as I enjoy what I am doing. When my kids are around while painting, we all dance together, it inspires me. I feel, when I love my painting, it is appealing to the world as well. My wife calls me a dancing artist.

How will you describe the subject matter if your works?

When I talk to people or when I preach, I take a title or a word from the discussion and derive my subject matter from it. I get my concepts from these titles. I keep a record of these titles in a book. For e.g., while you are talking to me, I caught a word “oh I see”. Now I will work around this word and try to build my painting around it. Life is all about a book with pages. You can’t keep reading the same page every day. Its an error. This is where I derive most of my subject matter from, which is something to provoke you, prompt you, push you, to alert you that its time, do it now.

Looking at your portraits, do you paint from a live model or do you have photo references?

I see a picture and I add a few stuffs to it. The color concept is purely out of imagination. Every artist needs to be creative. What makes me unique is adding more life to what I see. I spend most of my time in creating the pictures that I want to paint.

Can you share with us the process of your painting?

For my portraits I use scaling, by ruling lines making sure the portrait is correct. I normally use these lines because it helps me to get exact picture as I am more into portraits. I normally start with the dark portions and then I begin to apply the colors from my chosen color scheme. When I am done, I use palette knife for the final strokes which makes my painting “C-kle” painting.

You use a range of tools, like brush, palette knife, pens etc.

Yes. I want to try charcoal as well. Looking at my painting, I wish people should start thinking what all tools and mediums have been used there. I don’t want to do what others are doing rather would want others to do what I am doing and I would be moving to next step.

 

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

When you are trying to paint and you are getting what you want, it doesn’t mean that you should not paint again. You simply put that one down and start another. That is what strikes me to paint more than one canvases. I do like to work in series. I am trying to come up with a new series titled “Mental Picture”. People need to decode the mind of those who are very quiet by nature. Do watch out for this series.

Surely, my best wishes for that. Would like to ask the question which is asked to every artist, when do you know that your painting is finished?

This is a good question. A philosopher in me has a quote that says that the work done passionately does not necessarily need a perfect finishing. When I paint passionately, I feel the edge when I am done. Sometimes I feel this edge in 1 hour while other times I may get this in 3 hours or more based on how satisfied I am.

You are a studio-based artist. What does a physical space mean to you and how much time do you spend in studio?

Big and sufficient space is very important for an artist. Every now and then you need to watch the painting by standing back at a distance. My previous studio was just a quarter of what I have now but very soon I will be having my own gallery with a big studio. So, I think every artist needs a proper space for the studio. Since my studio is closer to my house and my room, I can say that I spend 23 hours in the studio. Studio is my friend and that is where I am based all the time. I also teach students sharing my knowledge to them in the studio.

Have you ever had to deal with rejection or have ever felt like giving up?

Yes, there were my dry moments. Some artists take prints of canvases and sell it digitally at very cheap price. That is the reason why people don’t buy original paintings and that’s the reason I hate prints. It was a dry moment for me when I almost made up my mind to give up painting but then I realized that there are trials and errors in everything you do. What keeps me moving is the reason why I started painting again. I started painting to touch people’s lives and now I can’t give up. That is what my subject matters are, wake up and show up. Now I think there is nothing that can frustrate me about painting. I am a full-time artist now.

Can you tell us where and under which Master did you do your apprenticeship?

I learned from an artist called Daniel Jasper, who does video posters, realistic posters. I studied realistic aspect very closely for 5 years but during the last phase he had to travel to USA where he spent 2 years. When he was away, being a senior apprentice, I got a chance to teach the younger ones and in the process I learned faster. People still come to my studio to get my guidance.

You are now an established artist; you have gained a lot of experience from the challenges you faced in your art journey. What are your thoughts on this generation of artists? Have you achieved what previous generation were not able to achieve?

What I have achieved so far from the older generation is the humanity. I have been privileged to get a lot of help from artists like Larry Otoo, Wiz Kudowor and many great artists because I am humble. You learn only when you listen. I take what they have in addition to mine.

So, the previous generation has been a stepping stone in your art journey. How has this country helped you as an artist?

Ghana has benefitted me right from the beginning. As an artist, who has works at prestigious galleries and selling every month, has been a blessing to me.

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

I will say no, with an apology. We pay taxes as citizens and there are a few things that we need to benefit. There are so many talented artists but there is not enough space to prove our talent. We have just one National Gallery. Only if the works are mounted on the wall of the gallery, it will reach more people. When one person can do it, the others can do it too. By the time you realize we are building out something wonderful that will touch and heal the world.

What are your thoughts on the development of art scene in Ghana?

It is far better than before. In older days people were not privileged to go to art school, art opportunities were few. I can now fully depend on art unlike old days. Art has changed in our generation. I believe that if you are able to do something that can touch lives, it can feed you throughout your lifestyle. I keep saying this as an Art Therapist. I don’t chase money, what I look for is people’s challenges, needs, problems. If I make sure that I am able to meet their needs then my services are paid. In short art scene in Ghana right now is good.

Apart from the gallery that you are building, what are your upcoming projects?

I don’t want to look into one bottle with two eyes. The ongoing project has to be completed first and that needs my concentration. My next project will be building a number of houses and renting it out. These paintings do pay all the needs but I believe I must have some properties that can feed my coming generations. I think I will be fulfilled when I am done with this.

Ok, so that is your life plan but coming to your art, will your art be seen elsewhere apart from the gallery that you are building in future?

Yes, I do look at different avenues for exhibition to let people know that these works can be found at my gallery as well.

Are your works into international market?

Yes, I have been exhibiting for last 3 years. In Parallex Art Fair, London and in Taiwan as well. My works are going to Ohio, USA. I have also been featured in different art magazines.

How did you break the international art scene?

Through Face Book. The world is looking for something different. If you are unique in your own way, God shows you a way connecting you to the people.

Have you participated in Art Fairs and Residencies?

I exhibit all over. As long as networking is concerned you need exhibitions, art fairs. I made a lot of contacts through these. I haven’t had a chance of art residency. I have applied a few places for the same and hoping to get into one very soon.

My best wishes for the same. You are now established by overcoming all the challenges in your artistic journey. Based on that, what will be your piece of advice to the emerging ones?

I have very simple advices: first is know God, don’t do bad things. Know your work and it will be paid. Second is keep moving ahead. No matter where you are and what your surrounding is, keep moving through all the challenges. Third is bless the needy ones from whatever you get out of your painting, make sure they benefit from it.

Thank you, C-kle for this friendly talk. I wish you the very best for your ongoing and upcoming projects.

Born on 15^th June 1982 in Accra, Ghana, C-kle lives and works in Accra. His works can be viewed on his website: https://c-kle.webs.com/

 

A studio visit of Ghanaian contemporary artist Larry Otoo .....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. One exhibition I attended was of contemporary artist Larry Otoo. During my last visit to Ghana, I didn’t get time to visit his studio so I got a confirmation of studio visit when I met him at the exhibition.

Part of the elite group of renowned artists in Ghana today, Larry Otoo likes to refer to himself as a “contemporary traditionalist”. His subject matter is inspired by the everyday activities of ordinary Ghanaians. His vibrant paintings in oil and acrylic capture the rhythm and beat of daily life. Otoo has a unique passion for jazz music, a theme prolifically expressed in his works.

Otoo holds a Master’s Degree in African Art and Comparative Literature from the Kwame Nkrumah University of Science and Technology. He has been making art since he was a child, when he used to be scolded for drawing in charcoal on the walls. Otoo has held exhibitions in Africa, Europe, and the USA. He is widely collected and has an international following. He has held exhibitions in Africa (Ghana, Ivory Coast, Nigeria), Europe (The Netherlands, Great-Britain, Germany, Italy, Sweden, Denmark and Spain), Canada, the USA and Japan. His paintings decorate Ghana’s presidential suite and Ghana’s chancery in Washington, D.C.

 

It was a real pleasure to meet a warm personality like Larry Sir. His studio was an extended room of his house. I was caught by the colorful and textured canvases in the room. The room was filled with canvases, books, music and I was very amused with his passion for shoes. The informal chat with Larry Sir was very interesting and inspiring for me as an artist.

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

I grew up in the coastal area of Ghana. My childhood was amidst the area which were once British colonies like James Town and part of Korle Bu area. I came from a family of an artistic background, my grandfather was a goldsmith, my grandmother a priestess and mom a seamstress. I stayed in the community area where we all shared things as a family. The first experience of my artistic abilities was when I used to draw on the white walls with charcoal. My grandfather sometimes put me in the storage barrels as punishment for ‘dirtying’ his white painted fence walls with doodling in charcoals as a child. They say I was very inquisitive thinking that I may become a lawyer in future.

When in school, I was very interested in the people who could draw and would try to learn from them.  Since my father was a civil servant, we kept moving from one place to another and in the process, I got exposed to different forms of culture and ethnic groups. I grew to love Jazz when my father bought me a musical air piece which was mostly Jazz, but never got the opportunity to learn this music as my father could not afford the musical lessons. So, I ended up rather painting and drawing musical instruments. That’s how I was influenced by music. My other influences were the fashion magazines as my mother being a seamstress used to have them a lot. In High School, with my art teacher’s guidance I applied to the art school and that’s how I ended up in Kwame Nkrumah University.

     

How did you develop your style of painting?

While growing up, my family moved through different agricultural stations. I got fascinated by  women, the way they carry their child on their back, the way they carry the basket on their head. At the same time, I was learning in the books about Masai women with long necks. This influenced me to draw women with long necks and large eyes. I got attracted to the colorful market when I used   to follow my mom in the market. Attracted to those colors, I began to experiment with crayons. Now when I sit back and reflect, I feel it was divine guidance. In art school we are taught to paint in a certain way.  Certain colors when put together they clash. But I decided on not mixing the colors and keeping it raw to keep the vibrancy in my paintings.

In these art schools you are taught to paint in a specific way and some artists do create the works in that way, the works that sell. Is that a determining factor in your creativity?

To some extent I will say yes. I come from a well-to-do family, had a good education but my father was a disciplined man who believed that after a certain age you need to take care of your finances. So, in my quest to be able to take care of myself, I developed a habit of doing good artworks that will sell well, though it was quite difficult in those days. I visited many places to see the art like The Loom gallery and the National Museum. In those days, Ambassador hotel now Movenpick allowed us to exhibit on their compound. I tried to sell my works there and earn pocket money for myself. At that time, I had just started the textural work. I developed this style and showed it for the first time at Ambassador Hotel and all my works got sold and that was a lot of money. That’s when I told myself that this is what I want to continue doing but my dad wanted me to pursue economics. For a long period, we were not cordial with each other as he wasn't aware when I applied to art school. But I was determined and knew that art was my future and it paid well. My passion was to create things and I was glad that I could paint.

Then I started reading about Van Gogh, Picasso and others and they influenced me to a great extent. I started adopting them in an African setting.

So that’s how you navigated through the art world?

Yes. I would show my works at places and also to some people individually. Sometimes people would ask for me at the exhibitions to see more of my new works. This encouraged me to create more.

You call yourself a contemporary traditionalist, may I ask the reason behind this title?

I didn’t give myself this title. Each time I was interviewed they would say I paint contemporary themes but in traditional settings like festivals, musical events etc., so I thought it’s a good way to put myself forth and it is true to my way of painting. I am an artist who normally paints traditional things in modern settings unlike some artists who paint in a very naïve traditional way, not looking at the influence of modern adaptations in society. I look at everything in a contemporary setting. Who is going to record it as it is now? That’s my approach. Somebody did it in the past and somebody will do it in future, I am recording now.  The contemporary is relative to the situation I live in now. I am painting the culture as it erodes.

Are you looking at, reading or listening to music to fuel your work?

I used to read a lot of books but now I don’t get time due to commissions, functions to attend and travel. If I can't read, I watch documentaries and fashion shows. As far as possible, I try to get myself updated with what is happening around me. Our society is very vibrant with colorful activities, events, colorful settings and experiences that people go through. All the activities happening around are registered in my mind. While painting I get influenced by a whole lot of things that take place in society. Whatever I see gets recorded in my mind.

 

Do you sketch whenever you visit the places and see the activities happening there? How will you describe the subject matter?

As I said everything is recorded in my mind. Sometimes I take photos for my reference. We were taught to do sketching when in school, but I got bored at some point. I have a mind that records, so when I come back from places, I start painting. I like to create that immediate feeling. Sketching is done in the mind. When I stand back and look at the initial brush strokes, I see colors, forms in a geometric way, in a calculated mathematical setting. On my canvas through the colorful brushstrokes, now I see the wooden stool in the market, the human figures etc., all in either vertical or horizontal form. That’s how my mind works. You see as the eyes tell you and the mind registers. This is how I work. Every artist has a way of looking at things and that’s why art and music should not be a competition. Everybody has a way of telling his/her story. I tell in my contemporary traditional way. Contemporary will tell you that I am not living in the books and I am flexible. My formula for painting is to keep observing. When I apply brush strokes, some naïve person will first see it as color strokes but my mind is coding these strokes.

Now we are coming to the process of your painting. Kindly continue. It's very interesting.

Yes, you start with the colors and start looking at it in positive and negative forms. Colors are rampantly placed and then I start seeing images from it. What I want to see, I make it happen. 

I read that you limit your color palette with only 3 primary colors, do you still do that?

I decided to move away from too much yellow and use a subdued palette, a pastel approach. I am not always predictable in terms of using primary colors in limited forms. I shift between the primary and secondary palette. I don’t want my paintings to be boring and predictable.

In how many days do you finish a painting?

Sometimes painting can take 4 months until it's finally done. The large ones can sometimes take 5 years to complete. My mind keeps coding the color strokes on that canvas every now and then but the smaller ones I can finish in 48 hours.

When do you think that a painting is finished?

At times people come to buy a painting which is still in its initial state. It is appealing to them as there is harmony in the painting. It will look complete when framed but for me the idea of composition is not yet complete. Because I find in my colors some shapes that will give meaning to the painting. But people like to buy it due to the abstract form of it.                                               One cannot say it is complete until it's signed. I have made a mistake of overworking during a commissioned work and my work was rejected by the client as they didn’t like it. So, if sometimes people like to buy the painting as it is, I do not touch the painting again. 

Do you work on multiple canvases at the same time? Do you work in series?

I am quite busy with deadlines, commissions and travels.  So, in order to not waste much time, I work on multiple canvases. Depending on my mood I can work at different times of the day.              Yes, I do work in series. 

 

You are a studio-based artist, what does a physical space mean for your process and how much time do you spend in the studio?

I work inside the studio as well as outside. When in the studio I am protected from natural things like mosquitoes, rain, sun etc.  I can also listen to the music when I am indoors, so it depends whether I paint inside or outside the studio.

Have you ever had to deal with rejection or have you ever given up? And how do you tackle it?

I still face rejection. During commissions, for reasons like budget, or the client didn’t like it or the painting is not fitting in the environment. There was a time when nobody came to my exhibition except my family. There are so many experiences I have gone through but every step I learn and move on. I overcame the challenges. I am humble enough to say that I make mistakes and I cannot always have my own way. I work in an environment where there is healthy competition. So you have to find your space and have to live in a situation where you love your passion and at the same time you admire other people. For me, every challenge is always a learning process.

Artists of your generation worked very hard, with dedication unlike some young artists. What do you say about it?

The upcoming generation is into that type of painting like American painter Kehinde who is best known for portraits in the traditional settings of Old Master painting. They have adopted this style because it sells in several thousands. Collectors are looking at that type of art and so the younger generation is copying this style and making money. But you cannot blame them as the economy in  Ghana is very challenging. They want short cuts for success and this trend is reflecting on lack of patience, eagerness to make it quickly. Life has become very fast paced and they don’t have patience to establish themselves.  

                                         

Images from Larry Sir’s  recent exhibition “Facades”

What are your thoughts on the developing art scene in Ghana?

In the post-colonial period, visual art wasn’t the official way of projecting ourselves in the outside world, it was mainly through performing arts. Now the collection has become sophisticated. Country is spearheading the trend of the new face of art. There is dynamism. Artists like Ibrahim Mahama and some young artists are into more of visual dialogues through their installations, questioning society and the studio type of painting. People are asking what’s new and they will provide what’s new. It's more of a dialogue between work and society. It’s happening, people are noticing art.

(There was a pile of shoes of Larry Sir. He mentioned that he has a passion for collecting a variety of shoes and he says that is also a type of installation).

When people see this pile, they start questioning and that’s how the dialogue starts. Now they have forgotten the canvas, and are thinking of form, space and the arrangement. That's the new form of   art. Art is more into the design part of work.

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

My answer is no. We have always mourned this fact and have tried in our own ways and on   different platforms, to bring this issue up for the powers to listen. Because of our economic situation, when it comes to art, the level of thinking is not sophisticated. We haven’t come to the realization that art can be a place to study aesthetics and can be an appreciation of who we are in terms of identity. Our research shows us that there is not enough infrastructure to confine our treasures to showcase what we as people have endeavored. We need a space where tourists can see the things made in Ghana. Ghana is the largest country to produce cocoa but we don’t even have a cocoa museum. We have enough versatile production of products like Kente and Stools, to create enough money to run the country. We haven't realized how much potential Africa has in art but all we think is about comfort and greed.

Have you ever thought of doing art practice outside Ghana?

I did have an opportunity but the longest I can stay is 4-6 months. I have a growing family and I have to be here with them so my stay is limited.

What do you think of Art Fairs and Residencies? Have you participated in any of these?

Yes, I love Art Fairs. Fairs have a lot of variety under one umbrella showcasing intelligent works. I have participated in a few Fairs. Residencies help to bring out a different aspect of you and your work.  You are free to think only about art and your work. I did a residency in Vermont, got an opportunity in Jamaica and in Italy. 

With Larry Sir at his exhibition titled “Facades”, at Artist Alliance Gallery, Accra, Ghana

 

What are upcoming projects?

I have upcoming exhibitions in Spain, Morocco and if everything goes well in the USA as well. Sometimes I go for the openings while sometimes I send the works.

What will be your piece of advice for the upcoming artists in Ghana?

I would like to give 3 advices to the younger generation:

• They have to be disciplined.

• They have to love what they are doing.

• They have to work consistently.

Thank you for your precious time, Larry Sir.

Born in Accra, Ghana in 1956, Larry Otoo lives and works in Accra, Ghana.

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