‘Joyce’s gallery – continuing a legacy’
Story By: Olive Gibbon
Entering the Berj art gallery in Labone was a calming step into the artwork of Mia Ghogho – an atmosphere subdued by her earthy tones, mixture of smooth strokes with texture, and soft yet striking patterns.
But it was also where I heard about Joyce Quarshie, born in 1956, who dedicated 40 years of her life to building an art collection, dense with Ghanaian modern and contemporary works. Over 1000 pieces rooted in Ghana’s narratives and character, gathered by Joyce since her 20s. In 1996, Joyce established the Berj art gallery.
In October 2024, Joyce passed away, leaving her son William Prempreh to continue her legacy through the gallery. Speaking to ZED, owner of the Berj Gallery William said “she was a very strong spirited woman […] who had a lot of passion in the arts”.
“She was ahead of her time, not just from being a woman in Ghana, in West Africa, and achieving what she did,” he said, “but a person in general of African descent achieving what she did”. “The vision that she had, being ahead of her time, is what I admire”.
William shed light on his mother’s life, one that was surrounded by pioneering figures. Joyce’s father, John Kwame Agbevanu Quashie, was an advisor to President Kwame Nkrumah. But Joyce’s story is also intertwined with and inspired by that of Hannah Kudjoe, Joyce’s great aunt.
“Since my mum lost her mum when she was young, Hannah Kudjoe became like her mum”, Joyce’s son William said. He explained that when Nkrumah came to Ghana, he stayed with Hannah Kudjoe’s brother, where Hannah was enlightened. She became one of the first high-profile female activists for Ghanaian independence, and was notable for campaigns to free the Big Six, of the United Gold Coast Convention, from colonial imprisonment under the British administration. During the construction of Jubilee House, the residence and office of the President of Ghana, Joyce was commissioned to curate its art collection.
William highlighted the sense of responsibility he felt to continue his mother’s gallery, “to continue to champion the legacy of promoting arts”. He urged Ghanaians to engage in galleries that celebrate their narratives, for educational purposes and “to encourage the creative sector”.
“The more we know about our history and arts”, William stated, “the more we know about ourselves and the direction to move forward”.
“The gallery serves to be a space that celebrates the artist – the creativity of someone who was born in the nation, and is making work about narratives that concern the nation”. To hear this story of inspired women, deeply proud of their culture and committing to its preservation, was fascinating. But the gallery’s Artists In Residency Programme serves to strengthen these kinds of women further. “It’s for women artists, social and political creatives”, William said, “really, it’s to honour Hannah Kudjoe, her legacy from the township of Busua”. The residency is available in both Accra and Busua. The programme began with Mia Ghogho, an artist from the diaspora, who worked for one month, and whose work is currently displayed in the gallery.
