10 Questions with Edward Kwaku Boateng

Sculptor Edward Kwaku Boateng was born and raised in Ghana and now lives in Wellsville, New York. He holds a Master of Arts in Studio Art from Eastern Illinois University and additional degrees in project management and organisational leadership. Boateng’s work examines the dynamics of power, oppression and resilience in marginalised communities, blending indigenous art forms with contemporary digital fabrication techniques and symbolic materials such as ceramics, scrap metal and wood. Through layered compositions and a fusion of materials, he invites viewers to reconsider their place within systems of power and to empathise with narratives often overlooked.

@kwaku_kb

ARTIST STATEMENT

“Growing up in a country where economic hardship, corruption, human rights abuses, and social instability are deeply entrenched in the political landscape, I have witnessed firsthand the profound frustration, anger, and sense of powerlessness that citizens endure when their voices are ignored. Political leaders' relentless pursuit of power and wealth has devastated entire communities, leaving truth suppressed and households struggling for survival. These systemic failures have eroded trust and stifled opportunities for growth and equity within my community. These realities have profoundly shaped my perspective and creative vision as a Ghanaian artist.

Through my art, I explore the dynamics and intricacies of power through sculpture using various materials, including ceramics, wood, scrap metal, recycled materials, and cloth. My work addresses the struggles and powerlessness experienced by citizens who lack political power and the communities they belong to by highlighting how disparities of power lead to conflict, violence, human rights abuses, and corruption. My work is a monument to those who have endured the challenges and suffering resulting from being under the unchecked authority of others.

As part of my creative process, I combine traditional and contemporary techniques, drawing inspiration from various sources, including cultural symbols, traditional art forms, and modern methods.

By inviting viewers to engage with these narratives, I hope to foster a deeper understanding of the complexities of power dynamics and how the fight for power harms our society. I strive to provoke thought, spark conversations, and inspire positive societal change through art.”

— Edward Kwaku Boateng

INTERVIEW

How have different cultural contexts shaped your artistic vision?

Being born and raised in Ghana, a nation lauded for its democratic processes yet challenged by corruption and social inequality, taught me early on how power structures shape daily life. Later, studying in Ghana and the United States, earning degrees in studio art and project management, exposed me to various artistic and theoretical frameworks. This blend of local experience and international experience allows me to merge indigenous Ghanaian aesthetics with contemporary Western methodologies, enabling me to speak to audiences across continents while honouring my roots.

What first drew you to sculpture as your primary medium of expression?

Sculpture's physicality enables me to build monuments that confront powerlessness and resilience. I am drawn to its capacity to engage viewers spatially and emotionally, by using materials that carry deep symbolic weight, the work becomes an object and a site of encounter where people can reflect on stories of marginalisation and strength.

Seeds, Plaster, Metal Rods, Metal Plate, 3 x 4 ft, 2024 © Edward Kwaku Boateng

You work with ceramics, wood, scrap metal and recycled fabrics. How do you decide which materials to use for a particular piece?

Each material serves as a metaphor. Ceramics, with their fragility and endurance, mirror the precarious yet persistent nature of marginalised communities. Scrap metal and recycled objects speak to resourcefulness and displacement, echoing how oppressed people repurpose what society discards, while wood and wood dust reconnect me to Ghanaian tradition and cultural continuity. I choose materials based on the narrative I wish to evoke, ensuring that form and content reinforce each other.

Can you walk us through your creative process, from concept to finished sculpture?

My process begins with research and reflection on a social issue, and I then draw on indigenous carving techniques, pit firing, textile traditions and symbolic motifs alongside modern tools like laser cutting and 3D modelling. This fusion allows me to reinterpret cultural symbols within a contemporary framework, ensuring that ancestral voices resonate in the present. The resulting work invites viewers to explore complex narratives through tactile and conceptual engagement.

You often combine traditional and contemporary techniques. How do you balance these two approaches in your work?

Balancing tradition and modernity is an ongoing dialogue. I create a bridge between past and present by weaving indigenous methods with digital fabrication. This synthesis honours my heritage and opens new possibilities for storytelling, allowing me to communicate timeless themes using contemporary visual language.

Growing up in Ghana, how did the political and social climate influence your decision to explore themes of power and resilience?

Ghana's political landscape, marked by competitive elections, corruption, and anti-government protests, taught me how power can be abused and contested. Witnessing the frustration and resilience of ordinary people inspired me to create art that highlights power imbalances and elevates narratives of endurance. My work reflects personal experience and a broader social analysis informed by these realities.

Your art addresses social struggle and marginalised communities. What role do you see art playing in sparking dialogue and change?

Art is a catalyst for empathy and critical reflection. My sculptures are intentionally non-passive; they demand engagement and encourage viewers to question their roles within systems of power. Grounding my work in personal and collective histories rather than overt didacticism ensures it remains emotionally compelling while challenging narratives that perpetuate inequality, thus creating space for dialogue and, potentially, social change.

You've exhibited in diverse spaces, from festivals to galleries. How do different settings impact the way your work is received?

Exhibiting in varied contexts, from community centres to formal galleries, broadens the conversation. At places like the Wellsville Creative Arts Centre in New York, where I now serve as an Art Director, I value the opportunity to uplift emerging artists and engage directly with local audiences. In gallery settings, the contemplative atmosphere allows viewers to delve more deeply into the material and conceptual layers of the work. Regardless of venue, my goal is to provoke thought and inspire dialogue across different segments of society.

Scarification, Ceramics, Kiln brick, 48 x 24 in, 2024 © Edward Kwaku Boateng

Void, Ceramics, Metal Plate, Metal Rods, 4 ft x 49 in, 2024 © Edward Kwaku Boateng

What future projects or themes are you most excited to explore in your practice?

I am exploring the cultural and political dimensions of bodily marking and scarification, examining how these practices signify identity, history and oppression. Future work will continue to merge traditional craftsmanship with digital fabrication, and I plan to deepen research into West African cultural traditions. I am also interested in expanding the scale of my installations and incorporating interactive elements that encourage communal participation.

What personal and artistic goals do you hope to achieve in the next phase of your journey?

I aim to continue mentoring artists and contributing to community-focused arts initiatives. Artistically, I plan to refine the interplay between traditional and contemporary techniques and to further integrate research on sociopolitical issues into my practice. Ultimately, my goal is to create work that challenges inequity and inspires a collective sense of responsibility and possibility.

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.

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