_“Ɔhɔhoɔ, II”_ (Stranger, II) explores themes of displacement, alienation, and identity through the vibrant interplay of color, pattern, and form. Rendered in oil pastel on Dutch wax print fabric, the work blends abstract and figurative elements, reflecting the character of Ɔhɔhoɔ as both an outsider and a mirror of personal and collective experiences. The juxtaposition of traditional wax prints with bold, modern imagery highlights the tension between cultural hybridity and individuality, inviting viewers to interpret their own connections to the work’s layered narrative.

  

Ɔhɔhoɔ, II

_“Ɔhɔhoɔ, I”_ introduces the character of Ɔhɔhoɔ (Stranger), a figure navigating themes of alienation, faith, and cultural hybridity. Rendered in oil pastel on Dutch wax print fabric, the work combines vibrant colors, patterns, and symbolic elements, including the inscription “INRI,” a reference to the crucifixion of Jesus, and a pigeon—a layered metaphor for freedom, displacement, and spiritual symbolism.

  
The piece reflects the tensions between individuality and collective identity, critiquing how colonial histories and belief systems have shaped contemporary Ghanaian culture. Through its dynamic composition, _Ɔhɔhoɔ, I_ invites viewers to engage with themes of displacement, hybridity, and self-reflection.

  

Ɔhɔhoɔ, I

"Adehye Mogya" (Royal Blood) draws inspiration from Ghana's trotro culture, particularly the symbolic stickers often seen on these vehicles. At its center is a circular sticker of Jesus holding the sacred heart, inscribed with the words "Adehye Mogya", meaning "Royal Blood." This image introduces an ironic tension, juxtaposing the depiction of Jesus as white—a colonial construct - with the Ghanaian concept of royal lineage.

The piece incorporates elements like a reflective gold strip inspired by the DVLA stickers on trotros and a blue sticker as part of the collage, reflecting the layered

ADEHYE MOGYA

_“Kɔso bɔ mpaɛ”_ takes its title from a sticker commonly found on Ghanaian _trotros_, translating to “keep on praying” or “pray without ceasing.” The work explores the intersection of faith and capitalism, using DTM paint and _trotro_ stickers to reflect on how religious messages occupy spaces traditionally used for advertising. These stickers, both devotional and promotional, highlight a parasitic relationship between belief systems and commerce. Through abstract forms and vibrant colors, the piece invites viewers to consider the ways in which faith is intertwined with everyday survival and cultural identity.

KƆSO BƆ MPAƐ

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King David Osabutey