Hamid Nii Nortey: Faith in Strangers

14 February - 19 March 2022
  • HAMID NII NORTEY | FAITH IN STRANGERS

  • Faith in Strangers is Hamid Nii Nortey’s first European solo exhibition displaying his most recent body of work.

    This compelling series of paintings addresses the diverse socio-political intricacies of migration, spanning from historical references, via expatriatism to political persecution.

     

    The exhibition was organized by Daniel Lippitsch and David Omari.

  • NORTEY'S SIGNATURE CROSS HATCHING TECHNIQUE
    Hamid Nii Nortey
    Escape through the Wilderness, 2021
    Acrylic on Canvas
    181 x 135 cm

    NORTEY'S SIGNATURE CROSS HATCHING TECHNIQUE

    Nortey, a self taught emerging Ghanaian artist (b. 1987), developed his interest in painting as a pupil in Mandla Dada basic school in La Accra, Ghana, and stood witness to the city’s considerable transformation from then on. His compelling and colorful figurative paintings delve into Ghana and the continents fast evolving social landscape shedding a light onto its diverse social classes, as well as the resulting generational developments.

     

    Nortey’s works are characterized by his signature cross hatching technique which he applies onto the skins of his figures. Contrasting the artist’s broad and smooth Impressionist colour palette, the close-knit parallel lines, varying in spacing and width, create a rough, loose organic texture, conveying the at once visual and tactile qualities of natural skin. Starting from meticulous and playful sketches, his portraits grow into lifelike, and lively, visual impressions.

  • INSTALLATION VIEWS | FAITH IN STRANGERS

  • THE GREAT MIGRATION
    Hamid Nii Nortey
    Waiting in Despair, 2021
    Acrylic on canvas
    128 x 101 cm

    THE GREAT MIGRATION

    Nortey continously reflects upon his engagement with architectural structures to create sceneries of different composition, modern home decor and different image perspectives that resonate and compel his viewers to be physically and emotionally invested in the subjects story.

     

    The exhibition Faith in Strangers is separated into two sections with the first focusing on historical as well contemporary aspects of African and Afro-American migration, which is being resembled by the central work group depicting the Great Migration in the US. The Great Migration described the movement of six million African Americans from rural areas of the Southern states to urban areas in the Northern states between 1916-1970, which was motivated to escape racial violence and pursue economic and educational opportunities in the North. Nortey furthermore discusses forms of African migration in daily situations as well as through the depiction of Fulani Pathways, referring to the ethnic group of the Fulani, who were considered as one of the largest nomadic ethnic groups contributing to the rich cultural land- scape of Western Africa.

  • After a while just living becomes a full-time job, no wonder we need a break
    Hamid Nii Nortey
    After a while just living becomes a full-time job, no wonder we need a break, 2021
    Acrylic on Canvas
    138 x 126 cm

    After a while just living becomes a full-time job, no wonder we need a break

    The second section focuses on the juxtaposition between forced migration and leisure travel to present the significant differences in how Western perception can diverge from African reality. Forced migration being motivated by internal and external conflicts, referring to the refugee crisis over the last years is being portraited in elemental visual forms such as despair, helplessness, violence and death. In conjunction with this, the works After a while just living becomes a full-time job, no wonder we need a break and Pleasure without champagne is artificial deliver a contrasting reality of the economically affluent part of African society and also deliver a tragically self-reflecting irony.

  • Hamid Nii Nortey
    Fulani Pathways, 2021
    Acrylic on Canvas
    130 x 171 cm
  • Pleasure without Champagne is artificial
    Hamid Nii Nortey
    Pleasure without Champagne is artificial, 2021
    Acrylic on Canvas
    138 x 118 cm

    Pleasure without Champagne is artificial

    The central dialogue created in Faith in Strangers is being addressed by Nortey’s meticulous analysis to dissect historical, political as well as social aspects of African and Afro-American issues, being expressed through the concept of migration, by displaying it in its violent and joyful reality.

     

    Organized by Daniel Lippitsch and David Omari