Adelaide damoah biography graphic organizer

AD: I want my work to inspire people to elevate their consciousness so my creative process involves a lot of research before I begin to make the work and during the process of making the work as well as a lot of meditation and mindfulness practices which I feel feed the process and sustain me. AD: The actual making of work involves the use of specific techniques, but is at the same time very intuitive.

Once I have absorbed everything I feel I need to absorb mentally, my work has three elements. Sometimes these come together in one piece and other times they result in separate pieces. In the studio, I use my body as a tool to make images using oil and pigment or paint. I often write on my work, and this can be a process of automatic writing or related to the particular subject that I am interested in at the time.

The third element is the transfer of images onto the surface usually related to my family or connected to me or the subject matter by a moment in time or place. It is rather empty at the moment as most of the work is at the show. But when I am working, it is overflowing with artworks and there are always old photos and books for inspiration and brain food everywhere.

AD: I have worked on so many exciting projects of late, it is difficult to say! I am a member of a female artist collective called the BBFA and in the past year alone, tremendously exciting, projects have taken us to Ghana, Marrakech Morocco and Portland Oregon! Working with the collective is always exciting.

Adelaide damoah biography graphic organizer: Adelaide Damoah (b. , London,

However, I would say that working on Genesis with MTArt Agency and our partners Bloomsbury Festival and Ashby Capital has been really special because it has meant bringing the dream of my solo exhibition to life! This to me is extremely exciting as I will be challenging myself in a way that I have never been challenged before because I want to inspire people — especially girls or anyone who feels marginalised — to push through the pain and discomfort that inevitably accompany the things we have to do in pursuit of our dreams.

The periods of the most amount of growth for me have been periods when I have been through something difficult. This performance is in effect me inflicting controlled discomfort on myself to see what gems of knowledge await me on the other side. I am very much looking forward to seeing just how far I can push myself mentally and physically.

AD: I was diagnosed with a chronic illness called endometriosis early in my professional career in pharmaceuticals. This meant that I spent a lot of time off sick after having surgical procedures. Art was my comfort and helped me to heal emotionally from the trauma I experienced as a result of the illness. The more I was sick, the more I got to practice and learn.

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With time, people started to respect me as an artist. This boosted my confidence in a major way and inI made the decision to become an artist and I pursued it passionately. AD: I am currently researching an idea for a big project involving a sculpture that I have been dreaming about making for the past two years. Retrieved 10 June Archived from the original on 26 March Adelaide Damoah.

The Artist. Retrieved 29 August Retrieved 27 October The Columbus Museum of Art Blog. Center for Artistic Activism. Retrieved 7 September Le Huffington Post in French. Retrieved 21 October Visual Collaborative. Polaris North Star Catalogue.

Adelaide damoah biography graphic organizer: Adelaide Damoah is a

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Cancel Report. Create a new account. Log In. Browse Biographies. Quiz Are you a biography pro? Damoah's art addresses themes of colonialism, identity, sexuality, and spirituality through various mediums including painting, performance, collage, and photography. Drawing inspiration from Cuban-American artist Ana Mendieta, who emphasised the presence or absence of her body, and American artist David Hammons, famous for his body prints, Damoah often employs her body as a 'living paintbrush', imprinting it on various surfaces.

While admiring Klein's series, Damoah critiqued the evident power disparity between Klein, a formally dressed white man, and the undressed female performers who followed his directions before a clothed audience. In response, she initiated her own feminist performances and paintings, assuming both artist and subject roles. Integrating her body prints with images, text, and gold, Damoah intertwines her family roots with the colonial relationship between Britain and Ghana.

She frequently employs a limited colour palette.