Accra, Ghana

ARTEMARTIS

ARTISTS

b. 1997

b. 1993

b. 2000

b. 1995

b. 1997

EXHIBITIONS

  • "What I love most is the flexibility. I can go at my own pace, revisit lessons, and keep learning whenever it works for me."

  • "Even as a total beginner, I never felt lost. The step-by-step structure and encouragement along the way made all the difference."

  • "This has been such a worthwhile investment in myself."

  • Yaro says his "goal is to document a moment, so having the work go from the studio to the front of the people's eyes is something I don't take for granted. Because I use materials from around us, I want people to see how useful these things can be. So it's a privilege to be able to engage their hearts and minds."

    GQ SOUTH AFRICA, 2023

  • The noise has reverberated far beyond this sliver of West Africa. Papered across the main space at Artemartis are portraits by James Mishio of dreadlocked men serving devastating stares. James’s work is layered with fabric — he creates the characters’ dapper outfits and applies them to the canvases — and layered with meaning. Even the viscous acrylic paint is designed to be symbolic of the stigma men endure for their hair or skin. Already his work has landed in the hands of London buyers.

    NATIONAL GEOGRAPHIC, 2023

  • “What started with small-scale exhibitions in Accra’s restaurants has blossomed into collaborations with some of the most prestigious institutions in the art world,” Gomado says, citing the likes of Phillips Auction House and the 1-54 Art Fair.

    THE GUARDIAN, 2025

  • Ayiboro is fascinated by aspects of Ghanian life that are “often hidden or misunderstood”. She paints marginalised women, and says she wants to capture the spirit of west African women overcoming patriarchal society barriers.

    THE GUARDIAN, 2025

  • In the five years since launching Artemartis, Selasie has watched his artists develop in tandem with a city-wide art boom. Galleries like his have multiplied and flourished. Nurturing curators have coaxed spirited work from the grassroots and boosted the reputation of Ghanaian art worldwide. “The scene is growing,” says Selasie. “The number of people attending exhibitions is growing. Collectors are growing.”

    NATIONAL GEOGRAPHIC, 2023

  • In Muhammad's reinterpretation, these bags are depicted in various colours, including dark orange, a departure from the traditional white, blue, and red colours, to reframe negative narratives about the bags. ‘I hope it impacts how people think,’ says Muhammad of his paintings. ‘Even if it's able to impact just one life, I believe it could spiral into something greater.’

    WALLPAPER, 2024

  • The materiality and the recycling aspects of my work are what really set me apart in terms of craft and practice. Creating an impact in my society has always been important to me and being able to contribute to my community in my own way is something that I’m really proud of. I hope to achieve more through my works to impact greater change in my community and more.

    CANVAS REBEL, 2023

  • Courage Hunke, born in 2000, manipulates the consumer culture found in Ghanaian streets markets to mark the fleeting essence of life. The artist recycles discarded materials, such as plastic packaging and shopping bags, into intricate objects and surfaces. The artist’s treatment of the materials feels like a gentle take on beauty, environmental consciousness, and memories—referencing people, their culture, and histories. After thoroughly cleaning the packaging, Hunke reworks the recycled materials into intricate surfaces, layering them with paper using a heat-pressing technique.

    CONTEMPORARY LYNX, 2024