In the run-up to his first international group exhibition VOILÀ L'AFRIQUE, curated by @JGArtCollector, we interviewed Oscar Quarshie, a young artist from Accra, Ghana. The 22-year-old painter's works can be seen in the New York-based Allouche Gallery between Thursday 10th February and Saturday 12th March.
A studio assistant to artist and creative innovator Stephen Allotey, Oscar has had the honour of diligently learning from a world-class ensemble of contemporary Ghanaian artists, including Kwesi Botchway. Having a unique and distinctive style, he is ready to add his compelling voice to the rich canon of the current evolving aesthetic of Ghanaian figurative portraiture.
Intrigued by human intuition and the innate connection humans have to nature, his paintings capture candid moments of calm where his subjects are in harmony with the natural world - “doing what they love doing”. Due to his fascination with how humans mimic sunflowers by seeking sunlight for nourishment, the sunflower has become almost like a signature in many of his paintings.
His painted figures, which stand out against a bold, solid coloured background, sit in a serene state of stillness or action, exuding youthful insouciance. Their skin’s radiant luminosity and unique texture are achieved by delicately placing intertwined threads onto oil paint applied thickly with a palette knife. This distinguishing feature of Oscar’s paintings accentuates the beautifully deep brown tones of the African body, contrasting the flat lucid western clothing.
Through his paintings, Oscar invites the viewer to witness intimate moments of self-care and undaunting expressions of self. The people he paints are those around him; they are his brothers, friends, and colleagues. They are an embodiment of Ghana's youth who are unapologetic in their conquest for the freedom to express their creativity through fashion, music, and art. Their audacious resistance to stifling stereotypes that threaten to dull their shine is characteristic of this era of societal evolution in Accra.
How did you get into painting?
From a young age I would draw portraits of the crucifix and myself. If I’m honest, I think I was born with a talent and have worked to improve my skills over the years. When I was in school, I studied art. We learnt ceramics, graphics design and other things, but I had a passion for painting. When I finished my studies at the end of Senior High School, I could not enrol on a course at a higher education institute. However, I was lucky enough to know a local artist, Stephen Allotey, who specialises in sculpture. He offered to teach me how to paint and sculpt, and I began an apprenticeship with him maybe a year and a half ago. Whilst working in Allotey’s studio, I met Kwesi Botchway and Amoako Boafo; they had been there painting. I was inspired by them and their work, so in my spare time at the studio, I just practised and practised painting portraits in the hope to emulate their success.
There is a strong culture of mentorship in Ghana amongst artists; how important do you think that is for emerging artists like yourself?
It’s very important for us. Not all of us will have the opportunity to study at formal institutions. It provides us with a chance to learn new skills and work on our talent. It also gives us exposure to other artists here living and working. In Ghana, a lot of artists collaborate and support each other. I think it's how we are able to be so successful. Because there are not many options and avenues to further our studies, it’s really important that we learn from each other. When Allotey is here working on sculptures, I help him, and I’m able to learn from him. Working in a studio like this where other great artists pass through to work is amazing. There’s so much camaraderie. I feel like we’re one big family.
What other opportunities outside this kind of mentorship are there for young emerging artists?
Not many. We rely on our seniors to help us develop our skills and practice. I think there will be more opportunities for young emerging art talent when the government pays more attention to us. They put more of their efforts into developing footballers. I wish they would support us more.
What do you think is needed?
I think the government could support by creating opportunities for contemporary up and coming artists to exhibit their work. I also think they should establish some art schools for artists to train. I know that art can be studied in university, but I believe that there should be a school that teaches art at a more basic level for those who cannot attain university academic standards.
What is it like being a young adult in Ghana at the moment?
In Ghana here, being a young adult can be risky. The situation for many of us youth is not great. There are not enough opportunities to support us or viable jobs. It can feel like we cannot use our energy to do what we would love to do because our minds are on making money. Unfortunately, many feel forced to do whatever they can to quickly get the money they want. The youth here are so talented and creative, but sometimes it seems like our talents can’t take us far. Unfortunately, I have seen my peers get involved in illegal activities like fraud to make money fast.
What has been different for you? How are you able to focus on your art?
I was definitely susceptible to the unfavourable lifestyle of some of my peers. It is very tempting, but I felt more compelled to focus on my art, and having Stephen Allotey’s support was really helpful. Having interacted with Kwesi Botchway briefly and Amoako Boafo at the studio has been really inspiring for me. It gave me the belief that I could make it as an artist. I know that they have worked hard to achieve what they have. They didn't just wake up one day and gain success without hard work. I see this and want to be able to follow in their footsteps. This really encourages me to remain focused on my art practice. I hope to inspire others to do the same.
The artists you have mentioned are both creating institutions to support the development of art in Ghana. What are your aspirations?
There are young people in my community who have amazing talents, footballers, fashion designers, IT specialists; you name it. I want to be able to help them. I had previously set up an organisation that arranged events in school holidays to showcase the talents of the youth in my community. Initially, I sought funding from others, but that wasn’t so successful. However, now I am making some income from my paintings, I think I can financially support my ambitions.
What is your view on the growing demand for art from Ghana?
It’s a positive thing because it’s helping Ghana. When Ghanaian artists sell their work internationally, it creates curiosity about Ghana. People will want to know more about the artists and their country. This will allow them to learn more about our culture.
Why do you think the work is so popular now?
I believe that previously art in Ghana very much focussed on creating land and seascapes, which would show the lifestyle here in the bustling markets and by the sea; fishermen at work. However, with this recent focus on single figures, people can gain a greater sense of connection with the people living in Ghana today. I believe they are really captivated by the compelling portraits that powerfully capture the people's emotions and energy without the distractions of the busy backgrounds. When there is one figure to focus their attention on, an opportunity is created for the viewer to almost converse with the figure, observing their eyes and body language and deciphering what this conveys.
What has been the feedback on your work?
I’ve had people following my work from all over the world; Hong Kong, America, Europe and more. They tell me that they love the texture of my work, the style, the way I capture the emotions of my figures. This really encourages me to remain focused and keep going. Also, since I’ve been included in the group show in New York with Allouche Gallery, I’ve had even more interest in my work, and many people have been messaging me over Instagram inquiring about buying some paintings.
What do you want your art to tell people?
I want my work to dispel the notion that Africa is just savannahs, animals and poverty. I want people to know that Ghana has evolved and there is advanced technology here. I want them to know that amazingly talented individuals here do brilliant things. There are artists like me and the other creatives who just want to make a living by showcasing their talents. These are the people I paint. I’m inspired by their resilience, their dedication and their drive. I want people to connect with us and our stories and understand our way of life.
Three of Oscar Nelson Quarshie's paintings are currently on display at Allouche Gallery 24 2nd Avenue, New York, as part of the groups show VOILÀ L'AFRIQUE between Thursday 10th February and Saturday 12th March .
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