Accra: Hundreds of art enthusiasts thronged the Kempinski Hotel to celebrate Ghana's Independence Day at Jeremiah Quashie's 'Memories of Yellow' exhibition in Accra.
According to Ghana News Agency, the exhibition, dubbed 'Memories of Yellow: A Game of Power and Chance', was curated by Samuel Baah Kotey. It features an exploration of the water crisis affecting the city and a tribute to the resilience of women who navigate daily challenges.
Quarshie's latest collection goes beyond aesthetics, using art as a medium to explore the dynamics of power, chance, and survival in a city grappling with a critical water crisis. The exhibition challenges viewers to confront the harsh realities of life while celebrating the indomitable spirit of the women of Accra-those who work, teach, and care for their communities against overwhelming odds.
Quarshie's work also explores how historical issues persist, highlighting objects that should be forgotten relics but have obtained an iconic status, remaining integral to everyday life. The nation vents through these everyday items, revealing the deep-seated challenges that continue to shape contemporary life.
Mr. Quashie, the artist behind 'Memories of Yellow', said his aim for the art was to capture the daily activities of the Ghanaian woman into artistic expression to inform people about the challenges women face in Ghana. He emphasized that art helps in changing environments and lifestyles, noting that building infrastructures and creating architectural designs all stem from artistic creativity.
He urged students not to shy away from art, as it has now come to stay and is dominating the industry. He advised students studying visual art to be serious about it and to go beyond the traditional arts taught in school.
Mr. Kotey said that art goes beyond drawing, involving reading, research, and finding suitable materials to tell the story of people. 'For me, I don't even remember the last time I had to draw. I'm always researching to analyze, find solutions, and make sure it fits the situation,' he said.
The exhibition saw people engaged in Ludo games, education, and networking. By drawing visitors into this interplay of game, chance, and reality, Quarshie transforms the gallery space into an immersive experience. Rather than passively observing, audiences are compelled to participate, make choices, and confront the unsettling reality that, much like in Ludo, winning-or simply finding water-is never guaranteed.
This exhibition also marks the 9th anniversary of Gallery 1957, celebrating nearly a decade of championing contemporary art and amplifying diverse voices from Africa and the Diaspora.
