“Unsung Legacy,” Art Exhibition opens at KNUST
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Artist's Statement
“A woman's gait is a living memorial to the enduring role of women in the fabric of
society. Their contributions are woven into the essence of their daily lives, visible in the actions
they take and the objects they touch. To bring these objects into the light is to honor
their profound influence on both individuals and the community” Throughout my practice, my artworks have reflected the activities of women in my
community. Their resilience and focus on their activities and their relevance to national development. Unconsciously, it symbolizes an extension of myself and my advocacy to
represent Ghanaian women’s activities as an integral and significant part of the well-being of our communities.
In celebrating Ghana’s independence annually on the 6th of March, a significant piece of the narrative seems to be missing, the role of Ghanaian market women in its attainment.
“Unsung Legacy,” is an exploration of labour, tradition, and identity through the lens of everyday objects that ‘sing’ the story of market women’s role in Ghana. This exhibition
features installations crafted from vegetable crates, wide-brim straw hats, terra disk,and bisque pots, each element serving as a conduit to honor the unsung heroines of our marketplaces and their significant roles in the events leading to the independence of the then Gold Coast, now the Republic of Ghana.
In my work, the vegetable crates symbolize the foundational role that market womenplay in the economy, their hands shaping the commerce that sustains communities.
These crates, often overlooked as mere containers, are transformed into a powerful representation of the strength and resilience required to support and nourish a thriving market which was the source of funding for the Convention People’s Party, (C.P.P.).
The wide-brim straw hats are symbolic of the sun-soaked hours spent tending to goods and engaging with customers. They evoke the spirit of labour under the open sky, the resilience in the face of harsh conditions, and the quiet dignity accompanying daily toil.
Through their presence, I seek to honour the sense of community and continuity that these women foster through their hard work and dedication. This dedication extended beyond the markets to advocate emancipation for their country.
Terra disk, two-sided circular artworks represent the dual roles of Ghanaian women as nurturers, community builders, and sometimes leaders. The sand, which is from the shores of the Osu Castle, the seat of government of the colonists, is a reminder of the first contact with colonists on our shores. The colonists’ Ghanaian market women supported Osagyefo to be emancipated from.
The bisque pots, with their humble form and unadorned surface, represent the personal stories and experiences of the women potters in Vume, in the Volta region of Ghana.
Their simple yet profound presence in the exhibition signifies the profound impact of these individuals, whose entrepreneurial contributions often go unnoticed but are integral to the fabric of our daily lives and national development.
Together, these elements create a dialogue about the intersection of labour and identity. By re-contextualizing these familiar objects, I invite viewers to reflect on the value of everyday work and the cultural narratives that shape our understanding of labour and heritage. More importantly, recognizing what these market women did to support Osagyefo Dr. Kwame Nkrumah in efforts towards his “Independence now agenda”
“Unsung Legacy” is both a tribute and a call to recognize the enduring impact of market women—whose legacy continues to resonate through the spaces they inhabit and the lives they touch. Their efforts towards Ghana’s independence should be recognized and become part of the narratives of Ghana’s independence story
Thank you for joining me on this journey through a world where the ordinary becomes extraordinary, and the stories of market women are celebrated in their most elemental form.
GLADYS ADINYIRA WUAKU (Sculptor)
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