I am fascinated by the aesthetics of signs and symbols and their power to communicate information; to instruct, guide, prevent, and visually control people to act in a certain manner.
This project brings together various artistic processes such as visual poetry, assemblage, painting and collage. It touches on my interest in the use of visual language and coded signs as a means of communication. The works combine elements of street signs, barcodes, decorative patterns, mark-making, text etc. into singular abstract pieces. Materials used are: oil paint, recycled wood, toys, paper, sand, photographs, stationary, etc.
"Figurations" deals with ambiguous figures performing in seemingly familiar environments with cultural accessories.
After Duchamp, 2002, 24×48in, oil on canvas
Head Tangents, 2022, 16×20 in, acrylic & oil on canvas
“Urban Allusions” addresses social inequalities delving into the subtle relationships between humanity, sports, and commercialism.
Superstar 2, 2019, 20×16 in, acrylics & oil on canvas
Superstar 3, 2019, 20×16 in, acrylics and oil on canvas
Football, 2019, 16×19.5 in, oil on canvas
Ice Cream, 2018, 20×16 in, acrylic & oil on canvas
Game Diamond, 2019, 16×20 in, oil on canvas
Game Club 2, 2019, 16×20 in, oil on canvas
Game Hearts A, 2019, 16×20 in, oil on canvas
King Sale, 2018, 20×16 in, acrylic & oil on canvas
Game, 2019, 11×14 in, acrylic & oil on canvas
Poker J, 2019, 20×16 in, acrylic & oil on canvas
“Vehicular” contemplates urban imagery. Featured are wrecked automobiles, commercial/military aircrafts, and psychological portraits. These paintings explore the cycles of advanced technology and its vulnerabilities.
Junkyard, 2003-2023, 32×48 in, oil on canvas
Junkyard 2, 2003, 32×48 in, oil on canvas
Red Vehicle (London), 1992, 30×45 in, acrylic on canvas
Levitation, 2004, 30×40 in, oil on canvas
“Heads” references the human head as the seat of thought and the mind’s ability to handle multiple ideas simultaneously. In order to visually represent this, I have painted these heads metaphorically to mimic robots, traditional African sculptural forms, and tubular machines.
$ Smoke, 2008, 32 × 32 in, acrylic & oil on canvas
Afedzi H, 2008, 32 × 32 in, oil & acrylics on canvas
Head By Faucet, 1999, 32 × 32 in, oil and acrylics on canvas
Figure With Lollipop, 1996, 32 × 32 in, oil and acrylics on canvas
Green Hat, 2002, 20 × 16 in, acrylics on paper
Red Tie, unknown year, 48 × 32 in, oil and acrylics on canvas
Virtuoso, 1999, 48 × 32 in, oil and acrylics on canvas
Senuto Cosmopolitan, 1999, size unknown, oil and acrylics on canvas
“Redcoats/Soldiers” refers to the history of colonialism using military uniforms as predominant reference.
Colonial Heritage, 2018, 30×24 in, acrylic & oil on canvas
Redcoats with Cans, 2004, 48×40 in, acrylic, oils, found objects on canvas
“Layers” addresses multiple pictorial interpretations of violence, exploring the subjectivity of events, separated by time and space but subliminally interrelated. The project gathers in visual form the spectacle of information, knowledge and tragedy using painting, drawing and collage.
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‘Fragments’ explores the eventuality between violence and reconciliation, possibilities of shifting tensions from tragic to recreational imagery.
“Social Predation” uses painterly gestures to explore predatory animals, human body parts and man-made objects to address cultural and global conflicts.
War & Youth, 2008, 31.5in x 31.5in, oil on canvas
A Study of Figmentation I, 2006, 42 × 68 in, oil and enamels on canvas
A generic interpretation of crime statistics using color-coded dots to indicate various crimes in imaginary locations.
Works Lost in Transit, 2002
Boomboxes, 2005, 80×108 in, assemblage
Mitochondria Eve, 2004, 75×11×25 in, wood, TV, fan, bicycle wheel rims, found objects
Lucid 3, 2004, acrylic, oil, and glue on wood
Lucid 4, 2004, acrylic, oil, and glue on wood
Lucid 5, 2004, acrylic, oil, and glue on wood
Lucid 6, 2004, acrylic, oil, and glue on wood
Lucid 7, 2004, acrylic, oil, and glue on wood
Lucid 8, 2004, acrylic, oil, and glue on wood
Lucid 9, 2004, acrylic, oil, and glue on wood
Lucid 10, 2004, acrylic, oil, and glue on wood
Lucid 11, 2004, acrylic, oil, and glue on wood
One, 2003, acrylic, oil, and glue on wood
P43, 2003, acrylic, oil, and glue on wood
The Sun, 2003, acrylic, oil, and glue on wood
Secularis “Muffled Connections”, Performing Arts Forum, St Erme, France. Wall installation in the attic of a former 19-century nunnery. The work referenced secularism and the emergence of dynamic social media, symbolically represented by text, images, charts, cobwebs etc. Materials used were stationery stickers, glue dots, plaster, cobwebs, price labels, photographs, and dust.
