#tracy naa koshie thompson

[gyamfieric]

Opening on the 27th of January 2023 at Spazju Kreattiv in Malta curated by Bernard Akoi-Jackson

including the works of:

Akwasi Bediako Afrane (Ghanian) Blick Bassy (Cameroonian) Christian Guerematchi (Slovenian- Dutch) Dereje Shiferaw (Ethiopian) Eric Gyamfi (Ghanian) Patrick Tagoe-Turkson (Ghanian) Priscilla Kennedy (Ghanian) Nelago Shilongoh (Namibian) Tracy Naa Koshie Thompson (Ghanian)

[ronaldmuchatuta]

A week from now . The #StellenboschTriennale Curator’s Exhibition will present contemporary art from Africa in a critical dialogue with the society that fosters and exhibits it; whilst providing a gateway to the other platforms of the Triennale. CURATORS: Khanyisile Mbongwa and Dr. Bernard Akoi-Jackson VENUE: The Woodmill Lifestyle Centre Vredenburg Road Devon Valley, Stellenbosch ENTRANCE: Free OPENING HOURS: Tues – Fri 10:00 – 18:00 | Sat – 10:00 – 16:00 | Sun – 10:00 – 14:00 | Mon CLOSED ARTISTS: Bronwyn Katz | Donna Kukama | Euridice Getulio Kala | Ibrahim Mahama | Igshaan Adams | Kaloki Nyamai | Kelvin Haizel | Kivu Ruhorahoza | Mongezi Ncaphayi | Hellen Nabukenya | Nástio Mosquito | Patrick Bongoy | Reshma Chhiba | Ronald Muchatuta | Sethembile Msezane | Stacey Gillian Abe | Tracy Naa Koshie Thompson | Victor Ehikhamenor | Wura-Natasha Ogunji | Zyma Amien . . . . #stellenbosch #Triennale #TheWoodmill #Biennale #artfestival #ronaldmuchatuta #Artdealer #pleinstreet #capetown #kunstwerk #contemporaryart #contemporaryafricanart #konst #atelierdartiste #atelier #kunst Visit our link in bio for more information 🖼 (at The Woodmill Lifestyle Market) https://www.instagram.com/p/B8G6s9HDAZw/?igshid=1rxw5a7fov4p3

[thestudioaccra-blog]

Art Talk with Tracy Thompson

Date: October 26, 2017

Venue: @thestudioaccra

Time: 6:30pm

Free!!!

Artist Bio:

Tracy Naa Koshie Thompson is a twenty-three-year-old Ghanaian artist whose practice revolves around an interest in material and industrial processes (seen in her recent works with synthetic plastics); As well as Nature which also inspires her— the aspects of complexity, the uncontrolled, and the mathematical ingenuity of nature which embodies its enigmatic beauty.

Tracy Naa Koshie Thompson graduated from Kwame Nkrumah University of Science and Technology (KNUST) where she obtained first class honours in Fine Art (Painting) from the Department of Painting and Sculpture in Kumasi. 

KNUST plays a key role in her practice as the department of Painting and Sculpture in KNUST is undergoing reformation in its curricular and playing such an epochal role in revolutionizing the art scene in Ghana which was in a state of oblivion to the contemporary art world. Not to mention the radical strives or guerrilla tactics of artistic emancipation heralded by Dr. karî’kạchä seid’ou which has in recent times propelled the art scene in Ghana to gain prominence internationally through the large scale end of year exhibitions that have carried an intellectual vision and scope to expose Ghanaian artists to engage politically and socially to the global discourses and interventions of contemporary art. 

Tracy Naa Koshie Thompson has participated in two of these unprecedented paradigm-shifting large-scale exhibitions organised by blaxTARLINES (of the Department of Painting and Sculpture). Namely Cornfields in Accra (2016) and Orderly Disorderly (2017). Opportuned by the cross-generational features of the exhibition, she exhibited alongside prominent contemporary artists like Ibrahim Mahama, as well as artists of the 60’s and 70’s like Prof. Ablade Glover, Kofi Dawson and many others.

Artist Statement:

My current works stems from an interest in synthetic materials and Nature — the paradox and synthesis between inorganic and organic material. My works come in the form of plastics — Polystyrene (Styrofoam) —  which at times come with implants of Polyvinyl Chloride sheets, Polypropylene material, as well as particles of organic matter. 

Like the Sankɔfa ideology, I condition the Styrofoam to immerse itself back to its own source, petroleum, which is mixed with oil paint. Out of this semi-dissolution process of form and mass, the white-coloured industrial geometric form of Styrofoam is transmuted into coloured amorphous substance. 

Air bubbles also form in the substance which is liberated (partial deflation) from its former concealed state due to its original industrial process (inflated polymer). The latent air therefore becomes macroscopically visible through this artistic intervention of material experimentation. These air-bubbles add to the organic aesthetic of the plastic work as it imitates cell-like structures of organisms. 

The uber-contraction of mass and matter from the semi-dissolution process used, is crucial to the politics of scale of the art work- ‘Since a million blocks of Styrofoam could be reduced to a small-scale. This is metaphorical and paradoxical (in relation to time) to the millions of tons of decomposed organic fossils which have been largely compressed over a long period .

The transmutation of these ubiquitous Styrofoam material breaks the modernist aesthetic of the original state of the industrial material; its pristine opaque quality and geometric form, which I manipulate to become transparent, coloured and amorphous. 

In taking advantage of the multi-transformational ability of the plastic, I also create varied textures in my plastic works by also exploring drawing and carving in an unconventional way by using water (in contrast to the oil nature of molten plastic). The thermo-elastic ability of the material also allows me to explore the complexity of dynamic formation of the work in space synonymous to that of living organism that changes over time. 

The viscoelastic property also allows me to have works that imitate frozen motion of liquids which I have explored in simulating geographical forms (water droplets, icicles, stalagmites and so on). Therefore, the transformation (alchemist) process of a ubiquitous material like Styrofoam to become unrecognizable becomes an interest of which I am exploring.

[gyamfieric]

The 35th edition of Ljubljana Biennale of Graphic Arts, scheduled to open from 15 September 2023 to 14 January 2024, has revealed participating artists, locations and public programme concept.

Titled From the void came gifts of the cosmos, the Ljubljana Biennale explores contemporary art and printmaking as a tool to form cultural alliances. The exhibition – curated by Ghanaian artist Ibrahim Mahama – will focus the historical connections between post-independent Ghana and the former Yugoslavia, grounding its design on the visions of Ghana’s first president, Pan-African theorist Kwame Nkrumah, and how his ideas are realised through collaborations with practitioners in Ghana as well as the former Yugoslavia, a member of the Non-Aligned Movement.

The Biennale will unfold in multiple venues across Ljubljana including the MGLC Grad Tivoli, MGLC Švicarija, Cukrarna, Krater Creative Laboratory, PLAC and SVS Studio.

The complete list of participating artists is as follows: 

Anita Afonu, Selasi Awusi Sosu, Yasmina Benabderrahmane, Virginia Chihota, Galle Winston Kofi Dawson, Nabil Djedouani, Jihan El Tahri, Beti Frim and Ines Sekač, Christian Guerematchi, Ana Govc, Helga Griffiths, Eric Gyamfi, Sonia Kacem, Soghra Khurasani, Krater, Kvadratni meter, Lalitha Lajmi, Pat Mautloa, Amina Menia, Danilo Milovanovic, Yusif Musa, llona Nemeth, Noks Collective, Nonument Group, NPR, Henry Obeng, Mohammad Omar Khalil, Krishna Reddy, Abed Al Kadiri, Bruce Onobrakpeya in dialogue with Temitayo Ogunbiyi, Nolan Oswald Denis, Thierry Oussou, Tjaša Rener, Martyna Rzepecka, Jaanus Samma, School of Mutants, (Hamedine KaneStéphane Verlet Bottéro), Mori Sikora, Janek Simon and Max Cegielski, Sanaz Sohrabi, Duba Sambolec, Tejswini Narayan Sonawane, SVS, Tracy Naa Koshie Thompson, El Warcha in dialogue with PLAC (Participatory Autonomous Zone), Ala Younis, Lara Žagar and Manca Žitnik.

Designed by Exit Frame Collective, the Biennale will also present a series of public programmes that revolves around the Akan (Ghana’s largest ethnic group) concept of ‘agyina’ (council), echoing the Biennale’s vision on void as a site of solidarity.

[ronaldmuchatuta]

Repost @stellenboschtriennale - In 3 weeks, The #StellenboschTriennale Curator’s Exhibition will present contemporary art from Africa in a critical dialogue with the society that fosters and exhibits it; whilst providing a gateway to the other platforms of the Triennale. CURATORS: Khanyisile Mbongwa and Dr. Bernard Akoi-Jackson VENUE: The Woodmill Lifestyle Centre Vredenburg Road Devon Valley, Stellenbosch ENTRANCE: Free OPENING HOURS: Tues – Fri 10:00 – 18:00 | Sat – 10:00 – 16:00 | Sun – 10:00 – 14:00 | Mon CLOSED ARTISTS: Bronwyn Katz | Donna Kukama | Euridice Getulio Kala | Ibrahim Mahama | Igshaan Adams | Kaloki Nyamai | Kelvin Haizel | Kivu Ruhorahoza | Mongezi Ncaphayi | Hellen Nabukenya | Nástio Mosquito | Patrick Bongoy | Reshma Chhiba | Ronald Muchatuta | Sethembile Msezane | Stacey Gillian Abe | Tracy Naa Koshie Thompson | Victor Ehikhamenor | Wura-Natasha Ogunji | Zyma Amien . . . . #stellenbosch #Triennale #TheWoodmill #Biennale #artfestival #ronaldmuchatuta #Artdealer #pleinstreet #capetown #kunstwerk #contemporaryart #contemporaryafricanart #konst #atelierdartiste #atelier #kunst Visit our link in bio for more information 🖼 (at The Woodmill Lifestyle Market) https://www.instagram.com/p/B7lZPTrDKP7/?igshid=dwcsiy4qceyy