Craftsman Zohra Opoku flawlessly mixes the vehicles of materials and photography to investigate the complexities of character. Opoku, a craftsman of Ghanaian and German plunge, experienced childhood in East Germany and as of now lives and works in Ghana’s capital city, Accra. She considered both design and photography, and her work investigates composites — of mediums, of landmasses and societies, of people and the common world, and of ladies’ inside lives and outside introductions.
In quite a bit of her training, Opoku prints pictures straightforwardly onto materials utilizing screenprinting and other print methods. In a meeting with Hyperallergic, she portrayed how her procedure mirrors her functions’ imagery: “The material actually assimilates the photographic picture, exhibiting how in the public arena material can move toward becoming instilled with significance, recollections, and chronicles after some time.”
In three arrangement from 2018, Harmattan Tales UAE, Harmattan Tales Self-Veil, and Harmattan Tales Ghana, Opoku investigates a specific material — the cloak. “Harmattan” alludes to the dry season in West Africa, when dusty breezes from the Sahara Desert make particular climate. The arrangement titles recommend that the cover may fill a handy need. “Wonderfully, I want to comprehend the shroud as an insurance shield as it covers nearly everything and gives little escape clauses to look to the outside yet additionally to within,” she said.
In Harmattan Tales Self-Veil, she toys with the concept of visual access by reliably covering in any event part of her face and now and again uncovering a bare middle. At the point when her body is totally hidden, lavish textures and examples bring out a state of mind or character. Opoku likewise treats the cover with the political multifaceted nature it requests. For Harmattan Tales UAE, she invested energy with three ladies, “tailing them with delicate interest to catch minutes and circumstances, concentrating on the governmental issues and feel of the hijab, a detail which is to me both staggering and problematic.” The subsequent works, imprinted on enormous materials, demonstrate the ladies’ countenances close by or layered with design, scenes, or conceptual visuals. In Harmattan Tales Ghana she applies string, ribbon, and dots to the materials, improving their materiality, including allegorical measurement, and establishing the pictures in culture and spot. The subsequent collaged pictures are outwardly heterogenous, extending the ladies’ delineations much past fundamental likeness.