Ghanaian photographer, Kojo Anim first became fixated with the artform of photography when he came across his brother’s camera at the age of 10 years old. Now 23 years old, Kojo says that his aim as an artist is to reveal to the world the “soft and unseen emotions” of Africans.
Speaking to writer Precious Adesina about how he began his practice, Kojo states, “I was curious to learn how the camera could capture what I see around me. I became addicted to a point where my dreams became filled with images for my projects.”
Often in black and white, images of models posing dawn Kojo’s photographs, intentionally showing a beautiful scenery and background to accompany his stories.
Kojo is now known for precious images that present a peaceful and sensitive approach to Ghanaian culture. The online contemporary art gallery Homecoming Gallery at Mendo bookstore, which is housed inside hotel De L’Europe in Amsterdam, began displaying some of his most well-known photographs from the month of May to July.
An excerpt from his time at Mendo in Hotel de l’Europe reads:
Kojo’s gentle photography showcases a constructed reality where people accept and embrace their cultural heritage and diversity. Inspired by his dreams and the intent observation of the day-to-day activities of people, he attempts to change the narratives around his simultaneously simple and complex African culture.
When Kojo discusses his work, he emphasises “the lovely scenery” and the natural elements he uses in most of his pictures. “I enjoy a myriad of plants and flowers that naturally grow in my community,” he says. “I love bold Taro leaves as well as the Moringa plant, which is also indigenous to Ghana and a staple for skin care and other uses, including its many health benefits.”
The artist also says that in order to contrast the dark skin of the models, he employs the brightness of objects in his surroundings. High quantities of melanin, according to him, are spiritual.
There is a communion of the spiritual and captured in Kojo’s photographs. In our African societies, artistic talents are themselves seen as ways to commemorate higher spirits. Art then expands to become more about channelling this sense of spirituality alongside the overall aesthetic.
In the focus of Kojo’s exhibit, the questions then arise: How does the human figure, in 2-dimensional image form become an extension of African ideas? How are these images used to show the conversations with our past, history, future and presented world?
There is a particular form, pattern and aesthetic that Kojo rests upon. Commonplace happenings such as light and darkness are figuratively represented. His images transmit these ideas through the photographic form – a practice that we can hope all artists with any care and sensitivity for Africa can employ.
This story is produced in the context of an editorial residency supported by Pro Helvetia Johannesburg, the Swiss Arts Council.
