The Chalewote Street Art Festival 2024 has been a vibrant celebration of Ghana’s rich cultural heritage, beautifully intersecting with the business world. As the festival draws to a close on Sunday, August 25, participating artists are making final efforts to attract investors and enthusiasts to their work. In conversations with The High Street Journal, several artists shared their personal journeys, financial considerations, and the deep significance of their craft, which fuels their artistic endeavors.
Gideon Nii Quaye Kottey, a figurative artist exhibiting alongside his father, expressed his gratitude for the Chalewote platform, noting that this year marks his third appearance at the festival. Kottey highlighted the invaluable exposure the festival offers, which keeps him returning each year. His symbolic art pieces, showcased below, reflect his passion and dedication. Discussing the pricing of his artwork, Kottey explained that he considers the time invested, the cost of materials, and the environment in which his art is sold. He revealed that he hopes to sell his current piece at the festival for $1,500 (GHC23,475). On a personal note, Kottey shared that one of the challenges he faces in the art industry is the lack of appreciation from the Ghanaian population.
Enoch Nii Amon Hammond, a visual artist known for working with unconventional materials such as cow horns and fishing line, a style he calls ‘Afrohornism,’ also spoke with The High Street Journal. Amon shared that his artistic journey was inspired by his uncle. Initially, sourcing cow horns for his work was relatively easy, but as butchers became aware of his innovative and profitable use for the often discarded cow horns, they began charging more, making it increasingly difficult for him to acquire materials. Amon explained that he prices his work based on customer demand, but financing his craft remains a challenge. To support his art, he relies on earnings from jewelry beading, a craft he practiced long before his ‘eureka’ moment of working with cow horns in such an unconventional way.
Apem Darko, popularly known as Ananse, focuses his work on humans, referred to as ‘nnipa dua’ in Twi. Ananse explained that ‘nnipa’ translates to human, while ‘dua’ could mean body but directly translates to wood, which inspired his art. He spoke passionately about reviving the legacies of legends such as Ghana’s Kwame Nkrumah, Jamaica’s Marcus Garvey, and musical icon Bob Marley. Using tree bark from cemeteries, Ananse’s work symbolizes that even after death, we continue to live through nature. His art also promotes environmental awareness, incorporating materials like plastic bags, torn clothes, and plastic bottles. While many artists focus on selling their work, Ananse is more interested in using his art to address societal issues and is currently not selling his pieces. However, he mentioned that if he were ever to sell, he would prefer to sell to someone who connects with his message rather than the highest bidder.
Salim Wumpini Fuseini, whose work explores family systems, provided insights into his creative process. Fuseini uses mesh (wire) as his primary medium, a choice influenced by a past experience in which he lost a competition, prompting him to refine his craft. He noted that while painting is a well-known art form, he hopes people will recognize the uniqueness of his method and expresses interest in teaching it to others. Fuseini emphasized that creating a work like his requires significant research into the materials an artist will be most comfortable with. Although not a full-time artist, he continues to work on his art whenever possible, crediting his artistic abilities to his mother, a dressmaker who frequently sketches.
As the festival concludes on Sunday, a march will take place through the town of Osu to the Independence Square, where a procession of artists will showcase their work through music performances, dance, storytelling, and more.
