_“Ɔhɔhoɔ, II”_ (Stranger, II) explores themes of displacement, alienation, and identity through the vibrant interplay of color, pattern, and form. Rendered in oil pastel on Dutch wax print fabric, the work blends abstract and figurative elements, reflecting the character of Ɔhɔhoɔ as both an outsider and a mirror of personal and collective experiences. The juxtaposition of traditional wax prints with bold, modern imagery highlights the tension between cultural hybridity and individuality, inviting viewers to interpret their own connections to the work’s layered narrative.

  

Ɔhɔhoɔ, II

From the mothership

Shouting from the balcony

Strangers in the frame

Whistle

Holy shit!

I hate Wednesdays

Big city blues

Look down on me

This is part of a series I’m exploring with ɔhɔhuoɔ (stranger), through different landscapes and perspectives, both speculative and real life experiences.

Fortress of solitude 

_“Ɔhɔhoɔ, I”_ introduces the character of Ɔhɔhoɔ (Stranger), a figure navigating themes of alienation, faith, and cultural hybridity. Rendered in oil pastel on Dutch wax print fabric, the work combines vibrant colors, patterns, and symbolic elements, including the inscription “INRI,” a reference to the crucifixion of Jesus, and a pigeon—a layered metaphor for freedom, displacement, and spiritual symbolism.

  
The piece reflects the tensions between individuality and collective identity, critiquing how colonial histories and belief systems have shaped contemporary Ghanaian culture. Through its dynamic composition, _Ɔhɔhoɔ, I_ invites viewers to engage with themes of displacement, hybridity, and self-reflection.

  

Ɔhɔhoɔ, I

"Adehye Mogya" (Royal Blood) draws inspiration from Ghana's trotro culture, particularly the symbolic stickers often seen on these vehicles. At its center is a circular sticker of Jesus holding the sacred heart, inscribed with the words "Adehye Mogya", meaning "Royal Blood." This image introduces an ironic tension, juxtaposing the depiction of Jesus as white—a colonial construct - with the Ghanaian concept of royal lineage.

The piece incorporates elements like a reflective gold strip inspired by the DVLA stickers on trotros and a blue sticker as part of the collage, reflecting the layered

Add

Kakalicka

Opportunities

For Artists

ArtConnect

Support