For decades, the world’s major banks and wealth management firms have approached the art market with a singular obsession: blue-chip art. Picassos, Basquiats, Warhols, Rothkos, Monets, and Koons have become the preferred instruments of prestige finance. Banks built advisory divisions around them, structured lending products against them, and promoted them as alternative assets to ultra-high-net-worth clients. In doing so, they believed they were chasing safety, liquidity, and prestige.

Eugene Ofori Agyei navigates international boundaries with the energy and easy grace of an accomplished athlete or dancer. But through works such as Complex Journey, he shows us that his migration from Ghana to the United States has not been devoid of psychological and emotional trials. Back home in Ghana he is known by his ethnic group, Akan. On the African continent he is seen as Ghanaian. And in America he is seen as a Black man and a foreigner. Agyei continues to define and meld his various personal and artistic identities. Share his journey through space and time as you navigate this immersive Kudos Shed installation. 

Eugene Ofori Agyei navigates international boundaries with the energy and easy grace of an accomplished athlete or dancer. But through works such as Complex Journey, he shows us that his migration from Ghana to the United States has not been devoid of psychological and emotional trials. Back home in Ghana he is known by his ethnic group, Akan. On the African continent he is seen as Ghanaian. And in America he is seen as a Black man and a foreigner. Agyei continues to define and meld his various personal and artistic identities. Share his journey through space and time as you navigate this immersive Kudos Shed installation. 

“To designate this new figure of the artist, I have coined the term semionaut: creator of paths within a landscape of signs. Inhabitants of a fragmented world, where objects and shapes abandon the cradle of their original culture to spread across the global space, wandering in search of connections to establish.”  Nicolas Bourriaud Traditionally, we have defined an artist as one who does something and expresses themselves through material and immaterial forms. That something holds aesthetic and communicative capabilities that can be recognized by individuals and validated within the institutional art world.

“A good gallerist is one who takes a risk for an artist because it shows that he trusts the artist’s work.”  Art gallery management The encounter between artist and gallerist usually occurs in formal and informal settings. A mutual attraction emerges between them, based on the gallerist's profile and the type of artistic production they promote and market. It should be clear that the gallerist's profession serves as an essential bridge between artists, collectors, and the public while also possessing a keen understanding of the artistic tastes of their time, a creative time that, in the 21st century, manifests itself amidst a remarkable eclecticism in which “(…) artists dedicated to a single expressive vein are increasingly rare, making a disparate set of disciplines essential to approach them”¹. The contemporary artist is increasingly multifaceted, embodying the multiplicity of artistic trends through techniques, materials, and signifiers that reflect our globalized reality