Fragments and Stitches of Ghanaian Idioms: A Catalogue of the Life and Works of Kwaku Asaku-Gyapon, An African Modernist Sculptor

Abstract

This study sought to explore the practice and philosophical foundation of Kwaku Asaku-Gyapon (1932 – 2018), an artist educationist of the African modernist stock, from the 1960s to the 1980s that shaped the Kwame Nkrumah University of Science and Technology (KNUST) artistic traditions and generally the Ghanaian sculptural representation. The study seeks to contribute to existing literature on African modernism, following up on karî’kachä Seid’ou’s “J. C. Okyere’s Bequest of Concrete Statuary in the KNUST Collection: Special Emphasis on “Lonely Woman” which sheds light on the artist’s ethos and practice in the midst of seeming erasure and wrong attributions. The study looked at the artist’s three-decade practice, in mainly concrete statuary, terra cotta, wood, and metal (rarely), as part of mid-20th century Ghanaian nationalist repositioning. This is part of the African art that evolved by blending foreign materials and techniques with native African concepts in which artists used revolutionary tools and methods, along with indigenous storytelling practices, to tell their stories in various forms. The study adopted archival research and interviews of the artist as well as descriptive-analytic research methods of the qualitative approach. The study revealed that the artist’s concepts and themes emerged from his personal experiences, sociocultural environment, and political events of his era. It also shows the artist’s practice as commission-dependent in which personal explorations of materials (cement, metal, terrazzo, wood, clay) and techniques in life modelling, casting, and carving were prioritized. The Authors conclude that Kwaku Asaku-Gyapon was a prolific but less exposed Ghanaian modernist artist educationist, in the light of how he adopted the indigenous Asante storytelling approaches through the application of traditional and non-traditional materials and techniques. Keywords: Asaku-Gyapon, Ghanaian Idiom, Artworks, African Modernist Sculptor, Indigenous Storytelling