04/07/2024
Ghana, West Africa. Gyampo studied at the College of Art, University of Science and Technology in Ghana, where he received a B.A. in 1978, and later attended graduate classes at the Institute of African Studies. […] He has taught modeling and casting workshops … served as a guest lecturer at The Metropolitan Museum of Art and the Robert Wood Johnson University of Medicine, where he spoke about socio-political and religious implications in African art.” I was very pleased to see a representation of a work that I can relate and identify with.
This also reminds me of one of the modern heroes of contemporary Ghanaian Sculpture, Nene F. Oko Matey. I would have loved to see his works on display in such a garden.
My current visit to the Gardens for Sculpture has sensitized me more now to the importance of preservation, collecting, archiving, and maintenance of art, nature and history. In recent times, the Ghanaian Architect, Kojo Derban, has been writing articles and giving lectures about the importance of preservation and “the need to conserve our architectural heritage in this age of rapid urbanization.”
This brings to mind the excellent and monumental work done by Ibrahim Mahama at the Savanah Center for Contemporary Arts (SCCA) and Red clay studios and that of Kwame Akoto-Bamfo’s Nkyinkyim Museum in Ada. Certainly, this is in the footsteps and spirit of the artist and philanthropist, John Seward Johnson credited with the vision and establishment of the Grounds for Sculpture.
As Architect Derban remarkably notes in a recent lecture, on Architectural Conservation at the George Padmore Library in Accra: Ibrahim Mahama’s “passion for conservation is no child’s play. Up in Tamale where he runs the Savanah Center for Contemporary Arts (SCCA) and Red clay studios, he uses the sales from his art work and prize money won from his numerous international awards to purchase structures of heritage that would otherwise be on the state demolition list.”
Visiting the Grounds for Sculpture, in Hamilton Township, New Jersey has exponentially increased my admiration and respect for the vision and works by Ibrahim Mahama at his SCCA and Kwame Akoto-Bamfo’s Nkyinkyim Museum in Ada.
We should encourage and support the works and creations of Kwame Akoto-Bamfo’s Nkyinkyim Museum in Ada. The Nkyinkyim Museum as Akoto-Bamfo indicates “is not just an archive of African history and African heritage, it has a more spiritual and personalized significance. Journeying through the Museum is a spiritual walk to healing.” The installation sculptures by the artist Kwame Akoto-Bamfo can be seen at Nkyinkyim Museum, Nuhalenya-Ada Ghana and the Legacy Museum Montgomery Alabama, USA.