By John Owoo
(In Accra – Ghana)
Despite being illegal – prostitution, which is a complex issue driven by factors like poverty, unemployment, lack of employment and access to economic independence – is widespread in the Ghanaian capital.
Indeed, an exhibition of paintings by Awanle Hawa Ayiboro Ali – that attempts to reframe the narratives around the sex trade while exposing the contradiction of prostitutes being desired and condemned at the same time – ended last week at Gallery 1957 in Accra.
Titled “Fine Feathers Don’t Make Fine Birds,” Ali explored the lives of two marginalized groups of young women in Accra – “Kayayei” (young female porters from northern Ghana) and equally young girls who are involved in prostitution on the famous Oxford Street, located in the heart of Osu, a suburb of Accra.
Curated by Nana Yaa Poku Asare-Boadu – who also took photos, which the artist transferred onto canvasses – the exhibition equally accentuates the connection between photography and painting, which have seen dramatic collaborations in recent years in Ghana and beyond.
Ali’s paintings are characterized by women in suits and satin curtains with baggy folds and a luminous shine that arouses profligate richness. Indeed, she interrogates themes of power, gender, survival and agency while employing deconstructed visual elements such as men’s suiting, nudity and flamboyant interpretations of African female sexuality.
With curtains representing both physical backdrops of wealth and symbols of inner transformation and resilience, the interplay of light, pose and drapery echoes the traditions of portraiture, where every element contributes to the narrative. Clearly, she emphasizes the power of collective female storytelling – the photographer, painters and subjects are all female.
With her figures parading blue-toned skins rendered through softly whisked layers of brushstrokes, she comments on the violence, discrimination and legal struggles of both groups. In the process, questions arise on whether art can reframe narratives around sex work and alternative economic and social structures that could allow for empowerment rather than marginalization.
One cannot deny the fact that both prostitutes and porters exist at the crossroads of societal exploitation and economic contribution. Despite enduring systemic biases, stigmatization and limited opportunities, both groups play an essential yet overlooked role in the nation’s financial and economic landscape.
Her art challenges conventions perpetuating gender disparities while offering critical perspectives on the portrayal of women in conventional societies. Through her work, she dismantles stereotypes and carves a path toward unapologetic self-expression, inviting viewers to reflect on the diverse facets of women’s identities.
Very thought provoking