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installations, sculpture, weaving, photography, basketry, consumerism, geopolitics, gender, identity, capitalism
Through an amalgamation of the techniques of painting, printmaking, and weaving, Theresah creates bold, colourful works that reflect her origins and story. These paintings invite viewers to a visual re-discovery of colour, a reconsideration of gender norms, family, consumerism, and sustainability. Onion baskets merged and screened unto colourful canvases with thread stitched directly onto the centre of the canvas form an array of both visual and palpable designs. However, the designs transmit a deeper meaning despite their vibrant appearance. The series of paintings are aerial views of the Ghanaian urban landscape exposing its metropolitan system and questioning the city’s management.
The future has no basis, save the past and the present. Like a child who has no place in existence, save the marks of his forebears, each of us can only build the futures we desire, when we have made peace with our past and come to terms with our current stations. This foundation of experience being a given, the rest of our lives are sure to be more colourful.
Literally translated as “family tree” in Twi language, this work represents communal living, a fundamental building block of African societies. In Africa, family extends beyond the ties of blood, and everyone's child is by extension, everybody's concern. No man is an island in the big family of an African community.
The great journey we make through life, is simply the story of a soul starting from beyond the bounds of eternity, sojourning through time, and on, into other realities. While we pass through many dawns and midnights, shedding our multiple selves till we attain refinement, we may lose our paths, but purpose has a lifeline that restores us. What we leave behind, is a bold legacy, across the face of time with consistency; change being the only dynamic constant.
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