The second in a series of film portraits, both archive and catalyst, documenting artists from Ghana and its Diasporas.
Zohra Opoku’s installations, videos and performances magnify underlying geometries and patterns of the everyday. Like Ashanti and Ewe Kente weavers, and artists such as Atta Kwami before her, she creates coded meanings, juxtaposes layers and textures into a polyrhythmic symphony of form; similar to many Dada and Fluxus artists, she draws on ready materials, remodelling and reinvigorating them with new meaning.
She takes on the notion of the non-separation of art and life through pieces like Ghetto House, playing on the idea that there is beauty even in the most downtrodden; through series that translate the tarpaulins of trucks and car covers into gallery or museum installations; by rediscovering the semantic nature of cloth in Ghanaian culture, in the sartorial clues left on a clothesline and in the quietly subversive act of amending an Agbada meant by tradition, shape and size for men into one for women. By tracing the ever-changing form of fabric and material, she captures this very fluidity for herself and for what art might be or do.