PORTFOLIO – 19

ANANE ASARE

By Nii B. Andrews

Anane Asare burst onto the Ghanaian art scene in 1995.

He had then just returned from a few years sojourn in Senegal where he came under the tutelage of the Senegalese master, Papa Ibra Taal.

Asare started to produce work that featured classic Sahelian architecture amidst surrounding geometric shapes- pyramids, arcs, discs and radiating lines.

He often painted in large field formats. There are loose but sure brush strokes creating a luminous wash of burnt amber, sienna, browns, ochres, amethyst tints and greys.

The paintings have an epic quality about them; there is no attempt at “architectural detail” but instead he features many ancient African symbols.

His work references the old Sahelian empires of Ghana, Mali and Songhai; the wisdom they nurtured and the heroes they produced- Sundiata Keita, Sumanguru Kante and others, whose names and acts of fortitude have been preserved for posterity by the griots.

The paintings often featured an unmistakable doorway into the building.

The reason?

Perhaps he is inviting the viewer to enter a storehouse of knowledge that should provide a roadmap to assist in solving the eternal questions of philosophy, culture, religion, spirituality, natural science and history.

Some have opined that he manages to document in a surreal manner the tragic decomposition of an indigenous Africa on account of improbity and nescience.

Asare’s style is so refreshingly different.

In 1999, he was the runner up for the prestigious Bartemius Prize.

Within the context of the contemporary African Art market, Anane Asare is an important but easily overlooked (Ghanaian) artist whose work is currently undervalued.