Samuel Ashon. Exhibition :Pictorial Batiques. Golden Tulip, 1 -30th of June 2007.

A little bit about Samel Ashon : a man dedicated to Ghanaian art and culture. He is super friendly, and loves to build a community with his colleges and those around him. the following is about his exhibition at the Golden Tulip Hotel; exhibited by one of Ghana's best art dealers ...I will let you go to Ghana and visit the Tulip to find out who he is.

Samuel Ashon is holding a June exhibition at the Golden Tulip. The works are exhibited in the arts section of the hotel and is on until the end of June. Ashon journey which led him to pictorial batiks has been an interesting one and in this article I am sharing a little more of that with you to help you understand the works and the man that is Samuel Ashon. 

For as long as he can remember S. Ashon has been into painting. It began with art in infancy and transgressed to a study of Rural Art, he majored in textiles, sculpture and minored in ceramics at the Kwame Nkrumah University. It taught Ashon that art is accessible from many materials and with creativity one can achieve what one wants. Like a lecturer once told me “with imagination you can achieve anything”.  Ashon attended La Presbyterian School and was fortunate to have a teacher with an interest in the visual arts who encouraged him to pursue his dream. After his O’levels he went to work at the lands department where he decided to redo his O’levels studied by himself and did much better.

It was in the sixth form that he decided to take art seriously and make it his profession. After he gained entry into KUNST where he was advised by lectures to go back and redo his A-levels in order to return and do a degree instead of the diploma he had started. But Ashon had already paved his way in his mind to finish is diploma and go abroad to do a masters degree. (Mr Ashon is an example of many who have diploma and Ghana who want to leave the country to better themselves in education because the Ghanaian system of having to start university from scratch although they have an HND or diploma. Abroad it is not so, and Ghana is loosing a lot of skill due to this. Recently it has been revised in some polytechnics but it is still a subject needing much attention.) But after 

His diploma he arrived at the Centre for National culture where he did a year of national service. Coincidentally there was a workshop on pictorial batiques and himself and also a few of the men on their service took it on. After the workshop was over Ashon ask his fellow workmates to peruse in the pictorial batiques; to substitute their wages also. The Craft shop at the Arts Centre sold their work and they gained profit. Later a few of his fellow workmates stopped the project. The next set up was to set up a studio at home pursue pictorial batique. Ashon had chosen his route partly out of necessity because the equipment for ceramics and sculpture was more than he could afford at the time. And so he bought his bowls, dyes and calico and has not looked back since. Working with the Centre for National Culture (former Arts Centre), led Ashon to stay in Ghana and he is now the deputy director at the Centre. 

Ashon’s works of pictorial batiques are rare, there are those who pursue this art in Ghana but not to the standard S.Ahson has taken it. His “aim is to achieve a result that oil paint can achieve”. And he gets it. His subject matters are of market women, sunsets, buildings and portraits. As an artist he appreciates "the from" of a woman (he laughs after saying this) and he observes it for his work. Or so he saids; it is something you hear a lot of artists chant. Also S. Ashon is close to his mum and lived near Malata market where he went to observe all the batik materials and textures of cloth he could see. Also seeing all those market women, working hard gave him a sense of respect for women as he saw them as part of the backbone of our society. Therefore, Ashon likes to pay tribute to Ghanaian women in his works.  The work of the “market women file” is an example of the forms of women Ashon was talking about. Also the scene of “canoes” is one you would see in a typical fishing village. The best thing about that scene is you see it as a real (stereotypically like oil or acrylic painting) painting.  

Ashon’s pursue of pictorial batique makes him unique in Ghana. I so far have not seen another artist who works like him and to his level of skill. He has contributed had exhibitions around the world and led others have commented on it rarity. Perhaps there are only about three or so artists in the world who do what Ashon does. He has his June exhibition on now at the Golden Tulip, along with fellow artists Owusu-Antwi and Larry Otoo. There is a rotation of Ashon’s works so it may be worth one or two visits. Ashon along with his works is an inspiration of his fellow Ghanaians, he shows you can make it by staying in Ghana as well as becoming a world candidate of his skill; Art. 

Pictorial Batik Paintings by Samuel Ashon

Kokrobite Beach

A Good Day

 

Starting with the Beach scene called “Kokrobite Beach”; its dominance is in green, natures colour. It is scene that used to be typical on most Ghanaian beaches across the south of the country. Now those beaches are dominated with restaurants, hotels and peoples homes (one cannot blame them).

In the background at the lower part of the painting we see the original use of the beach to those who live near it. There are huts presented in the dark green and a yellow lemon green for the straw that is the roofing of these huts. The huts are where the local fishermen keep their nets tools etcetera, so that when it is time to fish, they do not carry all of their equipment from their true homes. The huts consist of a door which is the light source into the room. Lanterns or battery powered sources of light are the equivalent. In front of the huts is an example of the wooden canoes used by the fishermen to fish. Behind the huts is a tree which helps to form almost a separate scene of huts in the painting and makes the background easy on the eye to digest as a viewer, and also the viewer gets a sense of what is beyond.

There is a bay that leads into the water from the side of the huts at times needed to mount things in and out of the sea, or for human pleasure.

Coconut trees dominate this beach scene again in two shades of green; the leaves are an example of the waxing process Ashon talks of in batik dying. The lighter lime colour has been used to accentuate the leaves in the seeing of the stems and the texture of the leaves themselves. The palm trees frame this painting and Ashon has given them a variation of lengths as well as barks that start from one end of the painting to another, which is typical of some of the coconut trees on the old fishing beaches in Ghana.** Looking at the trees one cannot help but get a sense of paradise(as marketed by all holiday agents/resorts). It is the scene one expects on a tropical beach especially when coming from the west. This leads us to the holiday maker, in his shorts sitting underneath the palm trees relaxing. He is soaking in the scene as well as the quiet sea. In comparison to the local native woman in her batik skirt and plain top in the foreground of the painting who is carrying something on her head; most probably some food to sell, something quick to eat.  Ashon likes to depict women as workers due to his growing up near Mamobi market, a market in Accra, the capital of Ghana. There he saw a range of market women working very hard to provide for their families. The scene at Mamobi market was one of each woman with her small (like the woman in this painting) business to those who have progressed further larger businesses.  Ashon commented that he saw women as part of the backbone of society and that is why he likes to depict women in his paintings as credit to women.

This scene is one you get on some of the beaches still in it’s original format and it includes some of the local women carrying their mini business’s on their heads going round offering those retiring on the beach, if only for a day, a quick snack. The restaurants have not overtaken this type of beach yet, hence the sight of these women is often welcomed.

The beach to some locals in the countryside is seen as place of function. Firstly to attain food, fish, to eat or to sell. And it is also a place where one finds a connected stream to collect water for the home or a place to dump refuse (as still done all over the world by large factories disposing of their chemicals); this scene is now extremely rare in Ghana.  Although the locals do take time out to go swimming and enjoy the peacefulness of the beach.

The trees go in a variation of the directions in the scene and dominate the top half of the batik painting. Their curves and swirls are naturally of nature’s law and as said before frame the whole scene. The palm trees are lined with black to help in the definition of the tree structure. The only thing behind the tops of the trees is the blue sky which Ashon achieves with white and light brushes of blue giving it a sense of calmness and it looks like a clear day.

The shadows of the palm trees are reflected in the sand and again the play of colours is seen with the use of a dark vegetation green to create the shadows. If you keep looking at it you could mistake it for the colour grey shadows one is used to. It plays on the eye, a bit like watching the “Mona Lisa”, making it an interesting scene to look at.

Apart from the lady in the opening scene, there is another canoe on the right hand side  of the painting again emphasizing the use of the sea to few locals.  A typical fishing village would harbor much more boats than those seen in this painting.

At the tips of the sand the water comes to greet us and the salt in the water makes the edges of the water white and this creates a pattern alongside the beach. The sea is presented to the viewer on the left handside. It is blue and not at high tide hence it is calm and simply breathing by pushing a little water forward which in turn naturally goes back into the sea. The sea disappears into the background of the painting and also the left side of the painting, reminding the viewers of its vastness as well as taking him or her into the scene because it is what we see when we go to the beach. This is why Samuel Ashon calls his works pictorial batiks. They are like oil or acrylic paintings and that is the effect/scene he wants to achieve. 

Reflections

Other examples of Ashon’s work are, ‘A loaded file ‘, the scene of market women with their stock on their heads. ‘A Good Day’ is a scene in which you get to see an example of the detail Ashon puts in his work, the variation of colours to achieve it, and how he manages to make batik works interesting.  The following scene called ‘reflections’ a sunset is one Ashon loves to paint. The simple plain colours in this painting make it refreshing to see. Ashon’s sunsets are usually more of a complication of colours and take on the form of more impressionist abstract styles. Complete abstract is also created by Ashon and it dominantly takes the form of shapes.

Practicality, may have lead Ashon to work as a pictorial batique artist, he at the time thought of becoming a sculpturer or doing ceramics but, the equipment needed and the money for it then did not suit his pocket. But as perhaps fate would have it, it has led him to become the only artist I have seen in Ghana who works like this. His works are unique. And to honour this, his works have been exhibited all around Europe, USA as well as Africa. He is first to say there are others like him around the world but to his standard there are not more than a handful. He is an exception in Ghanaian art and if not for the enjoyment of painting his works must be seen for its rarity.

Currently Samuel Ashon works as the Deputy Director at the Centre for National Culture in Accra, Ghana. If you are lucky to meet the man himself his infectious, bright smile and constant mood of joy would make you warm to him.  Samuel Ashon is an example of true success in Ghana when some think it can only be done by going abroad.

A pattern of holding an exhibition yearly at the Golden Tulip Hotel in Accra, has become Ashon’s other fate for the past six or more years. This year’s exhibition was in June 2007. And featured some of the works you see on the following page. There is always a rotation of works, so more than one visit may be needed during exhibition time. Works at a dominant number of exhibitions in Ghana are sold during the early days and taken away so it is best to get to the exhibitions early!

A Loaded File

Have a look at the next blog for my thoughts on his exhibition:) .

“Kwame Nkrumah” by Angus Amankwa – Buadu. Oil on Canvas. 60”x34 inches. Oil on Canvas.

 

This painting is simply titled “Kwame Nkrumah”. It is celebration of the man who led Ghana to freedom on the 6^th of March 1957 and like a symbol of Nkrumah’s political life. The painting’s composition has been divided into two. At its top, well known pictures of Kwame Nkrumah and at the bottom sites associated with him and also the Kente cloth symbolising the unity of Ghana’s one nation, form the very upper tip of the Upper Regions to the bottom of the Guinea coast. Various signs have also been placed on the painting like a stamp to help us verify Nkrumah.

In the foreground of the painting we have he traditional horn blower with a blue cloth tied around his waist with convincing folds Angus paints well. He is a dark man with a defined strong physique which adds strength and importance to what his mission is; which is to blow the horn. The horn which his eyes are fixed on. In blowing the horn he opens the painting like a theatre curtain being lifted to present a performance. And in this circumstance, the performance is that of Nkrumah.  The horn gilded with the sheen of gold shows the specialness of the occasion. Also at the Nkrumah memorial park we see statues of men blowing horns in front of Nkrumah and this man reminds the viewer of one of them.

At the top half of the painting Nkrumah is presented in three portraits, the main one being in the middle is a frontal view of Nkrumah’s face. The tone of his skin works but his features of lines on his face are over defined, making his lips seem more prominent than they once were. Angus can definitely draw features but needs to work on it to make his features appear more subtle. Although, Nkrumah’s signature forehead is represented well and his attire is suppose to be of the traditional kente cloth. The patterns and colours of the kente cloth are those expected including the adjoining weaving lines and the red, oranges, blue, greens and black colours. But after Nkrumah’s hand the fabric changes to another kente print and the viewer is left to ask why, in a portrait taken from a photograph. Also Nkrumah’s white top is dotted with gold to add some brightness to the painting but here again his top changes to the colour of gold on the left handside of his body and again the viewer is left asking why it should be so? Angus is seen to be mixing photomontage with some imagination. Angus does seem to have a good hand for folds in drapery which he does very well but not brilliantly. Nkrumah’s hand with the raised finger is part of the group of images that take centre stage in the painting. The hand is defined in structure but is too big to fit the anatomy of Nkrumah in this painting. On the left next to Nkrumah’s hand is the Ghana’s coat of Arms reminding one of our logo as a country, “freedom and justice”. The coat of arms is held up by two eagles which are known for their swiftness, cleverness in action which can be compared to wisdom, observance, a healthy dose of pride and presence; character references which I wish for all our people. Eagles fly alone and with its confidence it succeeds. So imagine what a union of eagles like the two holding the coat of arms can do.

On the top of the coat of arms is the black star, the same black star represented on the triumphal arch, which can be found in the independence square in Accra, seen in the painting on the right hand side of Nkrumah’s hand. The triumphal arch was a structure built by the Ancient Romans as a sign of victory. And indeed Nkrumah along with Ghana overcame a great hurdle in 1957 to attain victory and regain Ghana’s freedom. Angus does well in his observation of the blocks used to build the triumphal arch. He is careful to pick out the different shades of the blocks and also in doing so adds detail and solidarity to the structure. The six roundels that can be found on the triumphal arch are also represented in the painting. 

The black star itself reminds us of “black power” and black victory. The black star will continue to shine forever as a pride of all Africans in the diaspora and with Ghana at 50 it looks to be shining brighter than ever in all its associated contents. The colour black in ancient Egypt was a colour seen as good. The first name of Egypt was “Kemet” meaning black land and out of the darkest soil, because it is filled with more nutrients, came the best farm produce for the Egyptians. Our dark skin is one of value; God created us with the soil of the land (according to the Old testament). Kemet/Nubia being part of our origins we cannot forget that. The triumphal arch completes the three things that take centre stage in the painting.

At the top left and right of the painting are two side views of Nkrumah both popular pictures; with this Angus reminds us of the photomontage technique. In addition to this the lines of light in light blue, blue, yellow and pink gives the painting a sixties retro feel representing the time of Nkrumah’s rule as the first president of Ghana. The lines of colour also complements the sky below the portraits of Nkrumah, pulls the painting together and adds harmony. In European art, side portraits are those expected on coins with royalty or aristocratic images on them. Being represented in such a fashion gave the person a sense of immortality and importance combined; enough to leave their mark on society which Nkrumah did worldwide.

On the portrait on the left are two Adrinkra signs. The top one which looks like a cross means in Twi “Kra Pa”, good fortune and sanctity, a wish Nkrumah promised to Ghana after regaining independence. The bottom Adrinka sign is that of in Twi “Nsoroma”, a star, a child of the heavens; trying to indicate that Nkrumah was a kind of saviour for Ghana in 1957 in regaining our freedom from the British. Ghana was the first country in Africa to do so and inspired many others to follow. The whole of Africa during Ghana at fifty is now “free forever”.

On the bottom left of the painting is the structure built to commemorate Nkrumah at the Nkrumah Memorial Park in Accra; again here Angus picks out the brickwork in the structure. The grass and steps found at the park are also represented in the painting and on the grass the painter has placed the Ghana national flag. In death we still honour Nkrumah and Ghana with a flag representing the blood our forefathers shed to regain our land (red), the gold we posses (gold), and the endless vegetation of our land (green). The black star again is represented. The flag in this painting takes the place of the Nkrumah statue we are used to seeing in the memorial park. Afterall without Kwame Nkrumah we may have not had our freedom in 1957 and for that we say thank you, long live Ghana and also with God, Gye Nyame, to quote Nkrumah “backward never!”.  Angus does well in reminding the viewer of a time in Ghana’s history and views associated with Nkrumah.            

This painting can be found at the National Gallery of Art at the Centre for National Culture, Accra; previously named the Arts Centre.

Art Critic on Agenda Ahead II – by Glomess (Mr & Mrs Frank Glover)

Frank in name, frank in nature. The Glover family are well known artists in Ghana, including the legend, Ablade Glover; Frank is his nephew. 

This is one of my very first crtiques of Ghanaian art... . 

Acrylic on Canvas  created in 2005.

It is a picture with a blue background, reminding you of the sea and sky.

With a few brushstrokes beneath, the painter lets you know they are on the sea and it is nine men on an agenda ahead. Again with a brushstroke Glomess creates a body of one of the men with a variation of colours including blue, dark blue, greens, yellow, orange and hints of red. The figures are individually seen.

    

Their posture is one of seriousness, as if they are in an army marching. It lets the viewer know their agenda is a serious one or one on which they intend to get results. The figures take all the foreground of the painting making the viewer only concentrate on them. Their posture also places them like the sail of the boat that they are in, emphasising on the direction they have chosen and the determination to complete it. There is no flowing hair and there is something about the structure of their heads that gives you the impression they are men.

   

Two men if not more look to be wearing hats. The third from the left looks like he is wearing a workers hat from a building site (red in colour). And a few of the men look like they are in uniforms. Are these men workers in a boat or ready for a revolution? It reminds one of the communist sculptures (to be found formally in Russia and in China), in strength and seriousness but this time round they are all black men. This is an example that we are all human when it comes to the seriousness of an agenda ahead.

  

The boat they are in looks like an ordinary wooden boat; but Glomess uses colours to give the boat more boldness, definition and strength to match the confidence of the men.

  

Although the “Agenda Ahead II” painting could be criticised for being too easy to paint or for not having enough detail or even too impressionist to be good, it is a good painting in the sense that it serves its purpose and forfills its title and idea. And who could say motivation is a bad thing?

Sometimes in life an agenda becomes that important to us as individuals and you become very serious until completion or try to be.

Face to Face by Amon Kotei“Face to Face” – Amon Kotei.

Amon Kotei, Painter/Graphic Designer. He is the man who designed the Ghanaian coat of arms; this he got to do by winning a competition set by Dr Kwame Nkrumah (Ghana's first president).

Born in 1915, he is a funny man and an assured one too. He once told me I looked like his grandmother ...that was an honour. This piece I wrote for the Daily Graphic newspaper (Ghana) to comemorate Ghana's independece, fifty years later:
 
“Face to Face” – Amon Kotei . Oil on Canvas, 20” x 35”. 1975

At the countdown from 50 to 50, I decided to write about a painting by the man who designed the Ghana coat of arms, Amon Kotei.

It is a painting called “Face to Face”. It is a composition of two perhaps Ga women meeting face to face.

The two women fill up the painting and taking over the fore and middle grounds of the painting. As if they are almost giants; taking up the space on the left side of the painting and the other positioned on the right. In the middle of the composition is the space that divides the two women but that space carries the tension and weight of this meeting. The sky complements this brewing. In that space we get to find out what it is they are discussing and hopefully where a solution will amount.

 At their backs with heavy oil brushstrokes of mainly yellow , the viewer is reminded of the blazing sun these two women are sitting in. Oranges are also used to complement the sunshine, while light shades of blue in the background represents the sky behind them. The greens in strokes are a reminder of the trees and vegetation behind the two women.

                                           

The woman on the left is dressed similarly to the woman on the right, in a head scarf and a sleeveless casual\market woman like top with her overcloth covering her from the waist below. Although she is almost certainly wearing a skirt underneath it too. Her headscarf is dominated by blue making her seem peaceful. The colour blue also dominates the left side of her body. The red colour visible on her back seems to be more like a reflection of the sun and a colour in top, rather than a representation of her temper. Kotei also uses the tone of red as a base for her dark skin because it is normally so.   

The overcloth of the woman on the left is seen as blue on the right appears as green on the left; again making her appear calmer than the other woman sitting opposite her. Her posture also reflects this; her shoulders are relaxed and both hands are resting on her thighs with the right one hanging down loosely in the air. The look on her face compliments her posture because although she seems to be a little heated up, she appears friendlier and there is a willingness to listen.

Both women are large in size but in Ghanaian culture it should be expected for their age , between their forties and fifties. Kotei uses rounded brushstrokes and a slight variation of colours to draw, define and give tone to the anatomy of the two women; an example being the arm of the lady on the left.  The roundness\thickness of the strokes of colour show the viewer the texture of the woman’s skin. It is slightly worn and a little loose but it still has the elasticity expected of black skin. Also their forearms are of toned tough skin; developed through days of spending more time in the sun than usual. A bit like an old fisherman’s skin but not as tough. Their hands are large and useful.  They appear as hardworking women and their strong anatomy helps them perform their everyday roles well. The faces of the women especially the one on the right, has the sheen and smoothness of black skin. Perhaps of Ga origin she harbours signs of a fair skinned Ga woman. Both women’s faces show brilliant bone structures and a natural beauty that is still visible at their age; common Ghana not always so in non-African cultures.

In this face to face meeting the right placed woman looks like she has something to bare off her chest. Her posture is one we can associate with people of African origin all around the world, this includes her nose up in the air, her hands are on her hips and all over although she is in a yellow top, there are tones of red reflected all over her body. On her overcloth,  Kotei uses lines of colour including browns, greens, dark blues and yellow to define the folds in her cloth which crawls up her lower back. The woman is angry about something. This leaves the viewer to wonder what this “Face to Face” meeting is about. Is it a family feud that needs to be resolved?, is it because the other lady thinks is not good enough for hers?, is it because one has taken the others market space or one borrowed money from the other and it has not being paid back? The stage has been set for us to decide but whatever these two women have met about they look ready to resolve their problem.

This painting can be criticised for not being simple enough for the eye because of the great variation of colours everywhere and also the background could have been more realistic like that of a classic landscape. A few Ghanaian artists lately have taken on this style of background but made it lazy by placing any colour in the background almost to make it disappear and at times leaves their subject in thin air, which does not compliment the painting. Kotei on the other hand, his background is a little more detailed than that. And his dominant space as said before is taken up by tension.

As we are in the countdown from 50 to 50 let Kotei remind us to face our problems, conquer them, move on to make ourselves and nation better and also greater. We can do so verbally with peaceful action, just like the two women who with effort met face to face to solve their problem.       

There is more to come on Amon Kotei.