Queerness in Ghana is a paradox—branded as foreign, yet outlawed in the name of tradition. Europe is both the alleged source of queerness and the model for its criminalization. In the shadows of this contradiction, resistance flourishes. Ballroom emerges not just as a space, but as a sanctuary, where bodies move with defiance, where joy is carved from fear, where existence itself is a revolution.
This book is a love letter to those who dare to be seen. To the quiet glances exchanged in secrecy, to the rhythm of heels striking the floor, to the shimmer of fabric that refuses to be dimmed. House of Ghana gathers stories of resilience, longing, and belonging—tracing the echoes of a community that dances on the edge of erasure and dares to claim itself, fully.
With deep gratitude, I thank the community for their trust, their stories, and their unwavering spirit.
"let me love myself real quick" is a conceptual photo series that explores the profound journey of individuals from the global majority within predominantly white societies. This work aims to illuminate how racist systemic frameworks can obscure and distort identities and notions of belonging, while also highlighting the strength and resilience required to navigate these very challenges.
The series comprises five self-portraits, each reflecting different facets of selfhood and visibility. The first portrait, predominantly white, offers a critical reflection on systemic erasure and marginalisation, setting the stage for a deeper conversation about identity and the quest for recognition. Subsequent portraits, with varying exposures and flash intensities, symbolically peel away layers of imposed whitening and othering, revealing stages of struggle whilst unveiling the self underneath. The fifth and final portrait, a wide shot, provides a broader and more nuanced view of identity, showing the subject in its full humanity.
The photographic process employed in capturing these images critically examines both the historical and contemporary use of photography, particularly its role in shaping and reinforcing Western racist structures. It highlights the inherent biases within the photographic medium and its apparatus, which have contributed to the erasure of identities and cultures, as well as the perpetuation of fragmented representations.
At the heart of the series is the leaf of the Traveller’s Palm, a symbol of resilience and endurance found throughout Africa. This emblem has been used not only because it reflects the strength required to thrive under challenging conditions, mirroring the resilience of the human spirit but also to expand the representative aspect of self-portraiture by intertwining personal identity with broader symbols of perseverance.
Ultimately, "let me love myself real quick" celebrates the act of reclaiming one’s true self amidst pervasive biases, narratives, and structures. It resonates with Frantz Fanon’s notion that the most dangerous place for Black people is within the confines of white imagination, advocating for a reimagining of visibility and a re-learning of practices of seeing. ( link:poem )
In the bustling heart of Accra, a pressing issue lurks beneath the vibrant life of the city: waste management. Swaths of discarded plastic weave through the streets, clogging gutters and straining the city’s sewage systems. During the rainy season, this blockage becomes a catalyst for disaster, causing water to overflow and leading to tragic losses of life each year. Amid this crisis, the Buzstopboys emerge as beacons of hope. This documentary follows a day in the life of this volunteer-driven nonprofit organisation, dedicated to cleansing Accra’s streets of refuse. For more than six months, the Buzstopboys have tirelessly cleared gutters and highways, transforming areas choked by waste and overgrown plants into breathable spaces. However, their mission extends beyond mere clean-up; they are committed to educating students on effective waste management practices, empowering the next generation to make sustainable choices. This documentary captures their relentless fight against pollution, showcasing their efforts to not only save the environment but also safeguard human lives.
is a photographic and written exploration that reimagines the lives of 18th and 19th-century women pioneers of color. Drawing inspiration from historical art pieces—including paintings, sculptures, and photographs—this multilayered work weaves together sculpture, photography, and poetry.
This photo series depicts the significance of mental health in the Global South, with a focus on West Africa. The common understanding of trauma and mental well-being, shaped predominantly by Western experiences, often leads to misconceptions about different approaches to mental health. In African communities, mental well-being is deeply intertwined with family, nature, and spirituality. The region's colonial past and its exploitative present have alienated perspectives towards mental health, resulting in individuals turning inward in their search for oneness. This series explores and contrasts various interpretations of mental wellness within systems primarily constructed from a Western viewpoint.
sponsored by Bundesministerium für Kunst und Kultur Wien