Exploring Ghana’s evolution: Art exhibition blends architecture and culinary culture to reflect changing landscapes
In the serene ambiance of WorldFaze Art Practice in Ogbojo, Accra, I had the opportunity to engage with two remarkable artists, Nana Adwoa Fremah Amoabeng and Kingsley Sedem Dzade, as they put the finishing touches on their upcoming exhibition.
Slated for November 17, their collaborative show promises to be a unique reflection on Ghana’s rapidly changing urban and cultural landscapes, seen through the lenses of architecture and food culture.
The atmosphere in the studio was charged with creativity and anticipation, as each artist meticulously worked to create immersive, thought-provoking experiences. Nana Adwoa Fremah Amoabeng’s collection, Mess of Beautiful Chaos, dives deep into the cityscape of Accra, highlighting the architectural evolution that has transformed the capital’s skyline. Her inspiration stems from extensive research and first-hand fieldwork, including drone footage of prominent areas like the Tema Under-bridge and Ashaiman. By juxtaposing traditional and modern architectural elements, Fremah captures Accra’s identity in flux, portraying a city that is at once nostalgic and forward-looking.
“Accra’s urban growth is happening at such a rapid pace,” Fremah explained as we observed her series of canvases, each one a vibrant, almost chaotic, blend of colors and abstract shapes. “In the architectural and interior design world, plans are constantly evolving. We have modern skyscrapers and traditional colonial structures coexisting, but they’re quickly being replaced or renovated. When I reflect on the neighborhood where I grew up in North Kaneshie, the buildings have changed so much that it’s sometimes difficult to recall what the area looked like in my childhood.”
One of the standout pieces in Fremah’s series is titled Easy Route, which examines how former grazing lands and open spaces have transformed into urban zones now frequented by people. The piece illustrates how these once-vast expanses have become congested, echoing the pressure of urban expansion on Accra’s architectural landscape. Through her brushwork, she captures both the allure and the complexity of development. “These pieces are intended to evoke both nostalgia and excitement for what is yet to come,” Fremah noted. “I want viewers to understand that these spaces hold memories and histories that, as they change, reshape our collective identity and the stories we pass down.”
Kingsley Sedem Dzade, on the other hand, shifts the focus from physical spaces to culinary culture in his collection Mi na miadu nu (“Let’s gather and eat”). Dzade’s work delves into the social traditions of communal dining in Ghana, exploring how the act of eating together fosters unity, family ties, and community spirit. “Food has always been a unifier,” Dzade shared, gesturing toward his painting Self Treat, which critiques the rise of fast-food culture in Ghana. “In the past, sharing meals was a core part of our culture. You couldn’t just grind pepper and eat alone; you’d wait until everyone was gathered around to share it. That sense of togetherness, of family, is something I think we’re losing in today’s fast-paced world.”
In Ghana Jollof, Dzade playfully acknowledges the famous “Jollof Wars” between Ghana and Nigeria, celebrating the pride Ghanaians have in their culinary heritage. This piece invites viewers to consider the role of traditional foods in shaping national identity and spurs a sense of nostalgia and pride. “It’s not just about the food,” Dzade elaborated. “It’s about the memories, the love, and the culture that go into each dish. When people see Ghana Jollof, they’re reminded of family gatherings, of happy times with friends, and of the pride we have in our cuisine.”
Dzade’s works extend beyond tradition, touching on pressing environmental issues in pieces like Take Away, which comments on the increasing use of single-use plastics in food packaging. Through vibrant and vivid brushstrokes, Dzade portrays the harmful environmental impact of these materials, raising awareness about the urgent need for sustainable practices. “This painting is about more than just food packaging,” he explained. “It’s about the consequences of our choices. Each time we choose a plastic container or a takeaway bag, we contribute to a cycle that harms the environment. Through this work, I want to call attention to the choices we’re making as individuals and as a society.”
Both Fremah and Dzade’s pieces invite viewers to engage with Ghana’s evolution from different but interconnected perspectives. Fremah’s vibrant abstractions offer a visual exploration of space, place, and memory within Accra’s architectural transformation, while Dzade’s culturally rooted works explore the unifying role of food in Ghanaian society and the environmental impact of modernization.
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