In the pottery tradition of Ghana, especially within the Akan community, the coil building technique is a craft historically passed down and practiced by women. Did you use this manual method for some of the pieces that are part of this show? As a male artist in the diaspora, what emotional meaning or sense of rootedness does adopting traditionally female knowledge to mold your pieces hold for you?

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.

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.

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.