In the quiet feeling of the WorldFaze Artists Practice in Ogbojo, Accra, I got together with specialists — Nana Adwoa Fremah Amoabeng and Kingsley Sedem Dzade — planning for their forthcoming presentation.
With the show date set for November 17, the pair was fastidiously adding last contacts to their works, organizing an intriguing reflection on Ghana's developing structural and food culture.
The climate was accused of expectation, as the two specialists looked to reshape the space to suit their individual topical investigations.
"Wreck of Delightful Disarray" by Fremah welcomes watchers to face the unique changes in Accra's structural scene. Her works draw motivation from her broad examination and hands on work, joining drone shots of unmistakable regions like the Tema Under-span and Ashaiman with a reflective investigation of compositional change.
"Accra's metropolitan development is going on at such a quick speed," Fremah made sense of as she directed me through her materials.
"The fundamental course of this work is about building and inside plan, and I understood that engineering plan or design venture in life generally changes. We have the advanced, and afterward we have the customary engineering. In any case, I've understood that in the following five or 10 years, or when I was conceived or when I experienced childhood in North Kaneshie, there's been such countless changes that are going on and I generally don't remember how this spot used to look or how this spot used to look."
"One second, a design is there, and the following, it's gone or supplanted by something different. Through this work, I needed to address what these engineering changes mean for us, particularly people in the future who will live in an unfathomably different Accra."
Fremah's energetic varieties and extract shapes impart a feeling of excellence entwined with mayhem — an able impression of Accra's developing and in some cases overpowering scene.
"These pieces are planned to inspire both sentimentality and energy for what is on the way. I believe individuals should recollect that our set of experiences is enveloped with these spaces, and as they change, so too does our aggregate memory," she shared, alluding to her artistic creation Easy Route.
Easy Route looks at the change of spaces, initially assigned for creatures, that people presently incessant.
Kingsley Sedem Dzade's display, Mi na miadu nu ("How about we accumulate and eat"), in the mean time, is a contemplative social critique on the meaning of food in Ghanaian culture. Through commensality — the demonstration of eating together — Dzade thinks about the conventional qualities that have generally supported Ghanaian culinary culture.
"You know, once upon a time when you grind pepper, you can't share it little for everybody so you need to trust that everybody will come so we eat together. That sort of makes a feeling of fellowship or local area building. So I accept, food is something that joins us or unites us," he made sense of as we noticed his composition Self Treat — a striking study of cheap food culture in Ghana.
"Presently, everything is so quick moving. Individuals eat alone, and many depend on inexpensive food, which accompanies medical problems. Through my work, I'm requiring a re-visitation of customary eating rehearses, which interface us as well as are frequently better."
In Ghana Jollof, Dzade energetically draws in with the well established "Jollof Battles" among Ghana and Nigeria, welcoming watchers to observe Ghanaian culinary legacy.
His accentuation on mutual dinners, as Fufu and Tilapia, helps watchers to remember the delight and character implanted in conventional food sources. Dzade additionally doesn't avoid natural issues, as found in his work Remove, which scrutinizes the ecological outcomes of single-use plastics in food bundling.
The two artists, in their own novel styles, make a distinctive critique on Ghana's social development. While Fremah explores the scene of present day design as a representative space of tumultuous magnificence, Dzade's pieces look at what modernization means for food propensities and wellbeing.
Their works challenge watchers to reconnect with both actual spaces and customary qualities that ground Ghana's social character.
Through these presentations, WorldFaze Workmanship Practice turns into a space for discourse and reflection, welcoming Ghanaians to consider how both food and building spaces shape their personalities in a consistently impacting world.
The presentation date is set for November 17, 2024, and will go through to January 17, 2025.