Ghanaian artist Ibrahim Mahama has draped the Barbican Centre in London with a custom-made pink fabric, altering the renowned concrete exterior of the lakeside landmark. Dubbed “Purple Hibiscus,” this installation marks Mahama’s first large-scale public commission in the UK. His artistic endeavors aim to seize attention, spark contemplation, and exhibit solidarity with the artisans and craftsmen in Ghana whom he collaborates with.
Transforming the Barbican’s recognizable concrete façade required approximately 2,000 square meters of intricately woven cloth. The exhibit, open from April 10th to August 18th, 2024, showcases Mahama’s collaboration with hundreds of artisans from Tamale, Ghana.
Named after Chimamanda Ngozi Adichie’s novel, “Purple Hibiscus” symbolizes Mahama’s meticulous craftsmanship. Panels of pink and purple fabric were hand-stitched to fit the Barbican’s exterior, incorporating around 130 ‘batakaris’ embroidered by Mahama. These pieces, sourced from various communities in Northern Ghana through bartering, hold familial and cultural significance, embodying the endurance of tradition and intergenerational wisdom.
Mahama’s endeavor extends beyond aesthetic appeal; it’s a narrative woven with historical memory. Collecting these textiles posed challenges, yet provided avenues for artistic innovation. Working within the Alui Mahama sports stadium in Tamale facilitated the production process, allowing for the exploration of new artistic dimensions.
Collaborating with women weavers and sewing groups not only sustains local economies but also anchors Mahama’s creations in their cultural milieu. Departing from his usual color palette, “Purple Hibiscus” radiates vibrant hues, signaling solidarity with marginalized communities and fostering new alliances.
Installed on the Barbican’s Lakeside Terrace, Mahama’s monumental artwork assumes new significance. Amidst a fractured world, “Purple Hibiscus” embodies communal remembrance and solidarity, celebrating the profound capabilities of human craftsmanship.
The commission, nestled in an area historically renowned for the textile trade, bridges handcrafted artistry with architectural grandeur. Concurrently, Mahama’s accolade as the inaugural recipient of Dia’s Sam Gilliam Award underscores his commitment to artistic empowerment and accessibility.
What it means for Africa
As the installation draws attention to the African narrative, it prompts viewers to reflect on the significance of cultural representation and the role of art in fostering dialogue and understanding across borders.
In Mahama’s transformative vision, the Barbican Centre becomes more than just a venue for artistic expression; it becomes a platform for showcasing Africa’s rich cultural tapestry and its enduring contributions to the global artistic landscape.
Mahama, born in Tamale, Ghana in 1987, embarked on his artistic journey at Kwame Nkrumah University of Science and Technology, where he attained both a Bachelor’s and a Master’s degree in Painting and Sculpture.
Art Works
At the core of Mahama’s artistic expression lies the utilization of jute sacks, commonly employed in markets and for the transportation of commodities such as food, charcoal, and coal. These sacks, originating from Southeast Asia, serve as potent symbols of the intricate global trade network and the disparity between the mobility of goods and that of individuals. Collaborating closely with local craftsmen, Mahama meticulously stitches together these weathered sacks to form expansive patchwork quilts. These quilts are then draped over structures, weaving a visual narrative that intertwines themes of history, commerce, and societal transformation.
Mahama’s ethos extends beyond artistic endeavors; it’s about democratizing art and fostering inclusive cultural spaces. His Red Clay Studio and Savannah Centre for Contemporary Art in Tamale, Ghana, serve as beacons of artistic education and community engagement, exemplifying his belief in art’s transformative potential for all.
