Samuel Baah Kortey’s fictional drawings on plywood appropiate postures and narratives from movie posters merged with iconography from popular culture and technology. He is interested in the symbiotic relationship existing between the life and death of animals. Kortey believes in reincarnation and considers his practice as a process of transferring lives into different forms in an idealize space. His works is an assemblage of fictional characters composed of animals and objects. Kristo draws exclusively in animal blood collected from the Kumasi Abattoir.


Nuna Adisenu-Doe appropriates and simulates  trotro station and  store front iconography, (texts, slogans, phrases and objects) commonly associated with mass transportation in his work. He also adapts jargons and slangs from popular local music and catchy slogans which emerges from popular culture. The flags, symbols and fonts are adopted from popular posters and labels of consumer products and become a visual stridency of cliches, street wisdom and wit laced with serious  social and political critiques. Most of the labels are intentionally induced to simulate fading, dirt and cracks. In this body of work, Nuna’s work takes the form of  the louvre blades, some new and old on the facade of the structure.


Larry Adorkor’s pseudo-ethnographic process involves collecting personal objects of material culture from various townships in Kumasi and Accra. He learns from the social interactions and systems that characterize his sites of interests and imports them into his display strategies. Adorkor’s installations engages the spectator beyond contemplation to taste foods and interact with board games. By appropriating various museums systems of preservation, archiving and displaying cultural objects. Adorkor raises the question of how the white cube space or ideology potentially allienates cultural objects from social interactions. In this body of work, Larry Adorkor appropriates  display system from forensic labs and crime scenes.