In his first solo exhibition in Ghana, Frank Coffie builds paintings backwards — yarn first, paint last — from family memory, discarded fabric and pain.

In When the Center Holds, the Nigerian artist speaks with Sabo Kpade about suspension, memory, postcolonial thought, colour and why drawing becomes an x-ray into painting.

The painter on returning to Accra, colliding London with Obuasi, and why she lets a painting go above 90 percent.

Recorded at ARAMI, Lagos, during a press preview for Pure Water, Chika Idu’s solo exhibition with SMO Contemporary Art. In conversation with Sunshine Alaibe, Idu traces water through childhood drought, environmental precarity, the Atlantic slave trade and the changing representation of women in his work. By Sunshine Alaibe Edited by Sabo Kpade 17 September 2026. This conversation has been condensed, reordered and edited for clarity.

Gabriel Selassie Tsagli left Ghana at eleven and lived in Germany for twenty-six years. He returned to Accra in 2024 and made the paintings in Son of Kafui—his first proper solo exhibition at home—in a single stretch between February and this summer. He does not use a colour palette, works on many canvases at once, and calls the show a graduation. This conversation was recorded in Accra in August 2026 and has been edited and condensed for length and clarity.

Orry Shenjobi on her Venice residency: raffia craftwork, studio life, and what she learned — with takeaways for artists eyeing their own residency.

Ralph Waldo Emerson, in his essay "Society and Solitude," wrote, "We do not believe our own thought; we must serve somebody; we must quote somebody; we dote on the old and the distant; we are tickled by great names; we quote their opinions; we cite their laws." For Ikechukwu Nduka, he stands as the antithesis of the society Emerson critiques. He defied societal expectations and familial disapproval to pursue his passion for art, successfully contending the dependence on the opinions of others. "They say art is therapy, but while creative minds like us are creating this 'therapy', I think we need it the most, or rather we need it first." He aptly expressed the stark pressure.

Windsor Gallery is becoming a prominent player in the West African art scene, expanding its influence from Lagos to Abuja and Abidjan in just a few short years. This growth signals not only the gallery's ambition but also its commitment to creating a platform for contemporary African art.

In Ethiopia, women vendors are often overlooked and marginalized, despite being the backbone of the market. Their struggles are perpetuated by societal perceptions of their stature. Challenging these norms, Tadesse Mesfin's solo exhibition, "Where We Coalesce," currently on view at Addis Fine Art (until November 30, 2024), seeks to reframe the narrative surrounding Ethiopian women.

In the midst of shifting societal norms and increasing complexity around identity, "Freedom in Multitudes" asks important questions about Black and African identity. Through the work of nine international artists, this 1897 Gallery exhibition explores the nuances of self-expression.

Within Nigeria’s creative scene, Olufisayo Bakare stands as a multifaceted force. Born in Lagos to a family with a rich art and design heritage, her interests took her through the intricacies of various industries. From aspiring artist to entrepreneur and curator, Olufisayo is the visionary behind the brand, interior Living (Intlvng) and The Yellow of Lagos.