Make a detour (more like a u-turn, if you are driving) to your left, off the main Kasoa road at the toll booth; amidst boards on taxis that read ‘Fulani’, ‘School’, hop in the one with ‘Tuba’ and head for the Tuba taxi rank. Find your way to the main Mosque; go right, first past  Asimawu then Mariam’s stall of artfully arranged fruits of various hues to the Umraniya Islamic Basic school. Separating this from the Monika Crèche is a football field. Cross this threshold in a north-Eastward direction and you are headed for the Tuba Islamic High school. Route beside the school following the narrow dirt path to the Günther Frey International School and the One Love orphanage. Adjacent the boarding house is a mango tree with its crown sprouting violently from the trunk; the area underneath this is the project site.

Bear in mind that I have only charted a possible route through and by no means is this the only channel to an experience in this space.

The Tuba project is an audacious idea conceived by Charles Sauvat (a French artist) to be executed in Ghana. The artist’s initial experience of the Motherland was two years ago when we met in Kumasi. With much fondness, Charles recollects an experience in Mali (and Morocco) when he traveled with his parents and was about 10 years old. His instantaneous curiosity and fascination with how mud (clay) was used in a distinct building style to create structures (mostly homes) which proved to be longstanding and essentially utilitarian is what has remained with him and inspired this project. As an artist, his works explore the [seeming] proximity existing between architecture and sculpture. He links the two with subjectivities as nostalgia and memory; importing his experiences into his works and embedding in them personal memoirs consequent through a lifetime of traveling.

The project, for the artist, is symbolic of a ‘gift’ to a geography [space/place/country] he has quickly grown fond of, and to the community in which it will be built. It will also be in fulfillment of his infantile desire (I call it obsession) to construct sculptural forms as like the ones he had seen in the African countries afore-mentioned.

Abstracting the wattle-and-daub technique, the intention is to build walls into a labyrinthine form; thereby creating a space which homes its own form of perception, elicits a set of responses from the subject and restricts their movement (performance) in specific ways to realize a[n] [un]desired outcome. He has of late built forms circulating around the (labyrinth) idea, some of which have been pictured (refer to thumbnails) in his studio.

The collaborative energy shared between the artists involved is one that is very unique. You will find (from earlier posts) that this will not be the first time Charles and myself are working together. The same can be said for Eric Chigbey, a contemporary of mine for whom I have much admiration. Douglas is a young man recommended by Eric who also brings an impeccable work ethic to the table.

Discovering earth (clay) and a nearby well made it a tad easy as far as materials. Updates will be posted at regular intervals to capture goings-on. This will continue until the project is [un]finished. You can participate by sharing your thoughts and/or ideas. Videos will be uploaded to the channel… Follow us…


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