Accra 89plus Workshop

(b. Accra, Ghana, 1991) Elisabeth's work focuses on the way culture shapes identity and development, and the impact of active cultural curation on individual and national attitudes.

(b. Kumasi, Ghana, 1989) Larry's work uses the Ghanaian calendar because of the link it has to all Ghanaians and how people all respond to them at the time they are being sold, being bought, being used and being disposed.

(b. Accra, Ghana, 1992) Neal Davids is the creative director of DoNeal, a unisex fashion brand with collections that include beads, accessories and clothing garments in Accra, Ghana.

(b. Accra, Ghana, 1993) As an architect, artist and designer, Latifah Iddriss seeks to create art that speaks of its environment, people, time and culture; art that records, expresses and enhances.

(b. Accra, Ghana, 1990) Worlasi is multi-disciplinary artist working in mediums ranging from traditional to digital painting and animation. His practice also spans the world of music, as a songwriter who also scores films.

(b. Accra, Ghana, 1989) Gideon's paintings draws on universal subjects and culture. His work embodies contemporary obsessions on sexual culture, life, glamour, anxiety, pop culture, race, sentiments and death, which evoke the low culture of the urban life of humanity in his country and beyond.

(b. Accra, Ghana, 1992) Adjo's playfully subversive experimental drawings question and subvert prescribed gender roles in Ghana. Her collage techniques are intended to create new transformative narratives, whilst exploring the use of fantasy and fiction as a means of escape.

(b. Agogo, Ghana, 1991) Deryk’s work investigates the poetics of architecture. His photography considers architecture as embodiments of social and political histories.

(b. Accra, Ghana, 1990) Creating and expressing through photography is a form of therapy for the self-taught photographer. Teresa works on subjects that have personal meaning and connection, as an exploration to understand her place in the world.

(b. Tema, Ghana, 1991) Isaac Opoku is a mixed-media artist inspired by a deep sense of interconnectedness with all life. His style, often Afrocentric and quite psychedelic, employs an abstract twist which seeks to engender a sense of wonder in the viewer's mind, challenge conventional perspectives, and demonstrate the power of imagination.

(b. Accra, Ghana, 1992) Papa describes himself as a fashion storyteller working with illustration, drawing, painting and garments. He believes that fashion isn't just about making clothes—fashion is about telling a story and creating desires.

(b. Tema, Ghana, 1991) Exploring ideas of repetition and seriality, Kwame Asante Agyare's installations appropriate the idea of the iconic tin car. Evoking the bricolage-style children's toys once popular in Ghana, his large-scale installations act as a conduit to reflect on the common bonds, experiences and memories that bind Ghanaian society together.

(b. Mankesim, Ghana, 1989) Mensah loves that which comes to being through the mind, and hands. He uses poetry and drawing to express his understanding of life.

(b. Suhum, Ghana, 1991) Classically trained in fashion design, Abigail has been designing garments for her clients since her school days. She strives to become a leading designer.

(b. Los Angeles, USA, 1991) Caleb is a photographer. Viewing it as a tool to gain perspective, as a way to see others who are also searching for a way in the world. The anger, pride, intimacy, peace or knowledge a photograph can communicate makes Hampton think that every human expression is a symptom of our common predicament—the search for how to be human in the world.

(b. Kumasi, Ghana, 1992) Owusu’s one-pesewa coin installations appropriate Ghana’s nearly worthless loose change as structural material for raising questions on state policies, economic practices, and the meaning of independence.

(b. Kumasi, Ghana, 1989) Through installation, Francis Anim's work engages with the importance of social function, and patterns in relation to what becomes real, and what isn't real in a given space.

(b. Kumasi, Ghana, 1990) Opoku Emmanuel Manu’s sylvan installations displace objects from their mundane settings into a forest of meanings. Navigating questions of labour and value against a backdrop of global transformations, the collection of things produces a unique logic born out of the artist’s understandings of materiality, history, space, and society.

(b. Accra, Ghana, 1991) Gideon Asmah uses photography as a poetic language to disassociate from preconceptions and known forms. Textures of skin and shadow in soft black and white tableaux disorient a sense of time, place or subject. Charged objects shed political baggage, reborn newly blank.

(b. Kumasi, Ghana, 1991) Yaw Brobbey Kyei's works are most characterised by silhouettes of the structures employed in the socio-economic space in Ghana. His interest lies in the social and economic structures, as well as systems that become apparatuses for the Ghanaian urban space.

The independent arts and culture institution located in East Legon hosted the 89plus Accra workshop in August 2015.