By John Owoo
(Accra – Ghana)
Selorm Amekorfia’s latest body of work, which offers a reflective experience with sculpture that balances strength and delicacy, is currently on display at Worldfaze Art Practice Gallery in Accra.
Titled Memories in Forms and developed earlier this year during his residency, his work represents a thoughtful expansion of his multidisciplinary practice. It combines construction materials, reflective surfaces, and painterly gestures in ways that feel both natural and deliberate.
Curated by a team from Worldfaze, Amekorfia primarily uses mesh, cement, mirrors, and acrylic paint—materials more commonly linked to construction sites than art studios. Still, in his hands, they serve as vessels for emotional expression rather than just structural support.
The pieces on view carry a sense of weight, but not heaviness; they assert their physical presence while inviting an inward gaze. This tension between the exterior and interior runs throughout the exhibition, giving it a quiet, meditative energy.
What stands out in Memories in Forms is the artist’s growing exploration of organic shapes, a transition that adds fluidity to materials known for their solidity. Curved edges, rippling surfaces, and forms that seem to mirror the body’s rhythms appear throughout the exhibit.
While his practice is partly rooted in abstraction, these shapes suggest living organisms—bones, shells, and folds of skin—without ever becoming literal representations. Instead, they serve as emotional prompts, inviting viewers to explore their own memories and associations.
Mirrors, used sparingly but purposefully, enhance this reflective quality. In certain artworks, a glimpse of reflection draws the viewer into the sculpture’s orbit, encouraging a moment of self-awareness. This interaction between material, viewer, and environment highlights the artist’s focus on how we inhabit space—both physical and mental.
Embedded within the work is the sense of Amekorfia’s dialogue with his surroundings during the residency. The materials he uses evoke building and rebuilding, suggesting a metaphor for relationships, connections, and the emotional framework that holds them together. There is a subtle story of becoming—of forms emerging, shifting, and reshaping in response to unseen forces.
Memories in Forms resists easy categorization, operating at the boundaries of sculpture and painting, abstraction and narrative. It is this refusal to conform that gives the exhibition its strength. By allowing form, material, and emotion to merge freely, he creates a space where viewers can slow down, observe, and see their own reflections—both literal and metaphorical.
The exhibition concludes on Wednesday, December 24, 2025.
