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Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
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Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas
Emmanuel Adiamah, Aunty Mansa and daughter, Painting on canvas

Aunty Mansa and daughter, 2021
Emmanuel Adiamah  

Painting : acrylic · 68.6 x 68.6 x 10.2 cm 27 x 27 x 4 inch

€7,391 7 391 €

One of the last works available by this artist

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Shipped from: United States

Delivery to: France , € 156

Estimated delivery: Two to three weeks

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Verified Reviews : 9.6/10
9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

acrylic on canvas

Dimensions ( cm • inch )

68.6 x 68.6 x 10.2 cm 27 x 27 x 4 inch Height x Width x Depth

Sold by

Art gallery

Kuaba Gallery • United States

Credentials

Vetted seller since 2020

Discount

This seller offers discount when you purchase multiple artworks.

Description

Adiamah has a penchant of using foreign-matter or found-objects with pigments. Collage is the proper term. To Adiamah, ‘every object is a candidate for a work of art’. With a sharpened sense of observation, one can identify, collect and prepare them. And instantly, such good-for-nothing materials can be raised to the plane of aesthetic enjoyment. Thus, Adiamah has a wide repertoire of materials to excite his sense of creativity- leaves, straw, husk, sand, stones, leather, fabrics and any other material that would adhere to the surface of whatever support he uses.

Adiamah’s collage has evolved into a highly sophisticated level whereby from certain distances an observer finds it hard to distinguish non-paint material from pigment. This duality of interaction between paint and found-objects plays tricks with the human retina so that sometimes an observer is forced to touch the surface of Adiamah’s art to re-orientate what he sees as content. This “magic” is actually enjoyable to the senses in recognition of objects familiar to an observer. This is where the power of Adamah’s art comes to the fore.

Portrait

Everyday life

African artworks

Children

Women

Market

White

Sky blue
Emmanuel Adiamah, Aunty Mansa and daughter
Emmanuel Adiamah

Emmanuel Adiamah

Ghana  • 1956

Presentation

Emmanuel Adiamah was born in Ghana. He studied at the college of Art, followed by a degree at the University of Science and Technology. Later, he got a Postgraduated Diploma and a Masters in Art Education, and he startet to teach. Although he is not actively teaching now, he regularly organises talks and art workshops for students from Senior High School to the Tertiary at College or University level.

In his paintings, he uses different materials, as sand, paper and bark of trees. He has a penchant of using foreign-matter or found-objects with pigments. According to Adiamah, every object is a candidate for a work of art, because such good-for-nothing materials can be raised to the plane of aesthetic enjoyment. He has a wide repertoire of materials to excite his sense of creativity, as materials that would adhere to the surface of whatever support he uses. Adiamah's collage has evolved into a highly sophisticated level whereby from certain distances an observer finds it hard to distinguish non-paint material from pigment. This duality of interaction between these elements play tricks with the human retina. Due to this, sometimes an observer is forced to touch the surface of the artwork to re-orientate what he sees as content. Usually, Adiamah captures essential elements of local Ghana. His focus lies on the individuals whose collective vibrations make the local hubs and trade-centres the culture powerhouses they have become famed for. He gives the viewer a fascinating insight into unadulterated Ghanaian market culture through his full realm of remarkable genius and captivating imagery. Famous for the intricate detail, passionate expressions and immersive experiences employed in his art, Adiamah's works provide an introspective assessment of typical market life. From vivid representations of the lone preacher singing over the microphone, to the 'kaya ye' who idly wanders with her empty basin, his pieces are an all-inclusive memoir of life underneath the canopy of tattered umbrellas and creaky wooden stalls. Adiamah's most desired images are renderings of the women who dominate the market populace. Through his visual biopics, he pays homage to them for their toil, struggle and sacrifice. He paints the picture of them seated beside their unstable stalls of recycled crates and plastic buckets, arranging and rearranging their wares in an attempt to exhibit the freshest and most attractive. His inclusion of the raffia sun hats and loosely tied head wraps goes further to describe their strife at evading the sun that shines unforgivingly on their fast-wilting fresh produce. From Adiamah's works, it is easy to appreciate the hardiness, diligence and strength of the market women. The locale is highly saturated with such culture and vibrancy that in many places, markets have become listed sites of historic and architectural significance and are often popular tourist destinations. However, in the eyes of Adiamah's subjects, the market remains a haven- a community where sisterhoods are formed, families are raised, and where life goes on.

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