10 Questions with Kwabena Ofori-Darkwa

Kwabena Ofori-Darkwa is a self-taught Ghanaian photographer whose work is based on concepts focusing on nature and its relation and significance to humanity as part of a personal quest to seek a deeper understanding of various aspects of life as has been found as well as to build on the continuous rise of African contemporary photography to add different nuances and perspectives in subsequent conversations.

Born in Koforidua, Ghana, before relocating to Lusaka, Zambia, in early childhood, it was at the latter that he discovered his love for nature coupled with vivid early childhood memories of the countryside landscapes from his home village in Ghana, which inspired him to take up photography. It is, therefore, only natural that concepts surrounding nature and landscape would be the center of his focus.

Through these concepts, he aims to relay and provoke a certain level of positive energy, serenity, and peace that nature offers, especially to those who are challenged with emotional indifference, and to counter a wave of negativity and cynicism that seeps through our societies. Inadvertently, his photography has also taken the role of expounding a certain pride and identity in the African landscape from among those who inhabit it and those born of it but no longer reside in it.

oforidarkwa.wixsite.com | @ofori.darkwa7

ARTIST STATEMENT

It is that which is set but made unclear, light skewed, whose natural elements appear somewhat distorted, and yet in its state holds a resonance and a significance that is dated, pointing to a certain time period not in the present nor possibly in the future. In holding its moment together, it attains relevance through its reality. It edges towards the dystopian but still retains a sufficiency of utopia. Noted in its state is the humility of the ecosystem and also its charm. It radiates in its infectious purity and glows untainted.

Yet there is a fragility to it; its constant is not a guarantee, even as change is guaranteed. As the saying goes, “That which is natural cannot be stopped but can be corrupted” It portrays a certain frailty of individual moments and spaces, both important and mundane, to conscious acts powered by ego and greed.
In these moments of frailty lies a fear, a fear of loss. A fear validated by the non-recurrence of singular happenings over long periods.

At this point of appreciation of visible obscurity, the unique scene is captured, and the question begs, until when next?

At this point of appreciation of visible obscurity, it is left to wonder how such moments affect, have affected, and will affect a decision, a concept, a belief, a philosophy, and their corresponding ripple effects through time on a relationship, an economy, a kingdom state, civilizations, and their ecosystems.

INTERVIEW

When and how did you start getting involved in photography?

My photography journey began one fateful day in 2016 when I made a personal resolution to create a body of work capturing the landscapes of Zambia, my home for 22 years at that time. The driving force behind this decision was the realization that my future in the country was uncertain, and I wanted to have a collection of images as a reference in case my memory failed me. Accompanied by a friend, we were amazed by the potential and the initial results of our work, leading us to extend the project for a few more years.

What, for you, is the most enjoyable part of your art?

One element of my artistic practice that fills me with immense delight is the process of capturing my subjects or objects.
This involves being in the right place at the right time, exercising patience, and having a heightened sixth sense. The process requires envisioning the final image, composing it carefully, and balancing emotions to capture the essence of the subject. This fusion of technical skill, artistic vision, and emotional control allows me to create impactful artwork that resonates with viewers.

Let’s talk about your work. Can you explain what your idea is and how you are working on it?

My work focuses on nature and concepts on how it relates and what it means to society. Therefore as I carry out my work, I think through and explore a number of concepts. These concepts influence my photography and the literature supporting it.

Where do you find inspiration for your work, and what is your creative process like?

I am greatly inspired by natural settings, and as such, it greatly motivates my compositions and creative processes.
My creative process is determined by the talking points I would like to highlight through my work, the prevailing composition technique that I choose to use at my disposal, which includes considering a key factor such as the weather, and lastly, its final output based on corrections in post-production, if necessary.

You mostly work with black and white photography. Why did you choose this technique? And why don’t you use color?

Quite ironically, I began my practice with color photography, and it is a technique I continue to work with.
The choice of black and white photography really took effect when I moved back to Ghana, and upon interacting with my environment, I realized that my output would be better served under this technique. This period that concluded with taking up this technique proved quite necessary as it also helped me critically reflect on my work up to that point.

Where did you get your imagery and visual language from? And how has it evolved over the years?

My imagery and visual language are inspired by the vast natural landscapes of Zambia, where I spent the majority of my life, and by the distinct memories of my early childhood years in my village in Ghana.
Over the years, my work has evolved to incorporate more abstract forms in output and also experimentation on the use of scale in different perspectives.

What do you hope that the public takes away from your work?

I like to link my work to literature, looking at perspectives that spur discussions and possibly allow us to re-think how we view and approach life.
Furthermore, my work aims to relay and provoke a certain level of positive energy, serenity, and peace, especially in those who are challenged with emotional indifference, and to counter a wave of negativity and cynicism that seeps into our societies.

What are you working on now, and what are your plans for the future in terms of new projects?

I am currently working on a continuously updated and yet-to-be-titled photo series which is the culmination of much of my experimentation with respect to scale. It’s a project I am greatly excited about.
In the near future, I hope to create a body of work similar to this published work which reflects my new base. Of course, in not restricting myself, the thought of further experimenting with abstract photography and also the use of other techniques keep me stimulated and challenged.

Do you have any upcoming shows or collaborations you are looking forward to?

Having had my first solo show right at the beginning of the year, I hope to be part of a show of one form or the other towards the end of the year or the beginning of next year. I continue to joyfully create more work, nevertheless, as I wait on any confirmations.

Finally, share something you would like the world to know about you.

I am a photographer on a journey of self-expression, seeking to build on the continuous rise of contemporary African photography.

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.