MAKING ART IN AFRICA: 1960–2010 Edited by Polly Savage, with essays by Robert Loder and John Picton and a Foreword by Sir Anthony Caro December 2014 ĂĈĀƫ4ƫĂąĊƫ))ƫđƫăĀąƫ,#!/ƫ Over 300 colour illustrations .  'ƫđƫĊĈĉġāġĉąĉĂĂġāĆāġĂƫđƫĹąĆċĀĀ MAKING ART IN AFRICA 1960–2010

đƫ Sixty artist interviews ofer unique insights into making art in Africa

đƫ * (1 !/ƫ0$!ƫ3+.'ƫ+"ƫ$%#$ġ,.+ü(!ƫ* ƫ(!//!.ġ'*+3*ƫ.0%/0/ƫ".+)ƫ%#!.%Čƫ$*Čƫ Ethiopia, Kenya, Uganda, , , , , and

đƫ Includes over 300 colour illustrations, many published for the first time

đƫ Illustrated timelines help to elucidate the book’s fascinating social and political contexts

What does it mean to work as an artist in Africa? In Making Art in Africa, 60 of the continent’s leading artists and curators give very diferent answers to this question 0$.+1#$ƫƫ/!.%!/ƫ+"ƫ!40.+. %*.5ƫü./0ġ$* ƫ +))!*0.%!/ċƫ+ 1/%*#ƫ+*ƫƫ/%*#(!ƫ.03+.'Čƫ ! $ƫ +1*0ƫ +*/% !./ƫƫ)+)!*0ƫ+"ƫ.0ġ)'%*#ƫ%*ƫ".% ƫ/%* !ƫāĊćĀċƫ!*/!(5ƫ%((1/0.0! ƫ with paintings, sculptures, prints, installations and archival images, these narratives draw on contemporary events, personal discoveries, and the networks such as Triangle Arts, which have brought artists together. The result is a compelling insight into the diversity +"ƫ!4,!.%!* !/ƫ* ƫ,.+ !//!/ƫ+"ƫ.0ġ)'%*#ƫ+*ƫ0$!ƫ +*0%*!*0ƫ 1.%*#ƫ0$%/ƫ,!.%+ ƫ+"ƫ. % (ƫ social and political change.

Polly Savage is a writer, curator and Senior Teaching Fellow in History of Art and Archaeology at the School of Oriental and African Studies (SOAS), University of London.

Robert Loderƫƫ$/ƫ$ ƫ/0.+*#ƫ(%*'/ƫ3%0$ƫ".% ƫ/%* !ƫ0$!ƫ)% ġāĊĆĀ/ċƫ!ƫ3/ƫ$%.)*ƫ +"ƫ0$!ƫ */0%010!ƫ+"ƫ+*0!),+..5ƫ.0/ƫ* ƫ +ġ"+1* ! ƫ0$!ƫ.%*#(!ƫ+.'/$+,ƫ3%0$ƫ%.ƫ Anthony Caro which developed into a network of workshops and studio buildings in over twenty countries including Africa, South Asia and the Caribbean.

John Picton is Emeritus Professor in African Art at SOAS, University of London. He worked for the Nigerian government’s Department of Antiquities from 1961 to 1970, and for the British Museum from 1970 to 1979. The Voice of Africa: ‘motivation of local ownership provided much of the energy and enthusiasm’ African Voices John Picton 8. Pachipamwe participants, Workshop Locations establishing a more permanent presence with the Cyrene Mission, Zimbabwe, Artists came from far and wide to take part in development of studio buildings. The Bag Factory, 1989. The workshop was John Picton is Emeritus Professor of African Art, School of Oriental and African Studies (SOAS), University of London, where he attended by: Bill Ainslie workshops located in sometimes unlikely places. in Newtown, , for example, was taught and wrote from 1979 until 2003 when he retired, according to the rules then in force. He was previously employed by the (South Africa), Berry Bickle (Zimbabwe), Sokari Douglas Originally locations were selected in quite isolated established in 1990 by a group of artists associated British Museum, 1970–79, and by the Department of Antiquities (now the National Commission for Museums and Monuments) of the Federal Government of Nigeria, 1961–70. His research and publication interests have included Yoruba and Edo (Benin) Camp (UK/Nigeria) Antonio areas to help prevent distractions from the outside with the Thupelo workshop. Supported by funds E Costa (Angola), Veryan sculpture, masquerade, textile history and developments in sub-Saharan visual practice since the mid-nineteenth century. Edwards (Botswana), Tapfuma world. The intention was to focus the workshop on the raised by the , it provides Gutsa (Zimbabwe), Bert Hensteede (Netherlands), interaction between the invited artists and the making exhibition space and studios for 20 artists, and offers Richard Jack (Zimbabwe), of work. However, as the Triangle idea took root, residency programmes that extend the workshop Rashid Jogee (Zimbabwe), David Koloane (South workshops were also established in urban centres. experience. Today, there are similar studio buildings Africa), Adam Madebe Prior to 9/11, for instance, the Triangle workshop in in New York (Triangle), Delhi (Khoj), Dhaka (Britto), (Zimbabwe), Stephen Mogotsi (Botswana), Joram New York took place in the World Trade Center, in Cape Town (Greatmore Studios), Gaborone (Thapong Mariga (Zimbabwe), Bernard introduces a book of the frontispiece to Volume 1 is a drawing of the great Matamera (Zimbabwe), David premises between lets. Centre) and Nairobi (Kuona Trust), co-ordinated This brief essay Ndhlouv (Zimbabwe), Daryl In Africa, the 1998 Ngoma workshop in Uganda internationally by Alessio Antoniolli from the voices, a book of people talking about things they temple to Shango, the Yoruba deity of thunder, a Nero (Zimbabwe), Antonio Ole (Angola), Pat Pearce (UK/ took place in a disused part of a leper hospital on Gasworks Studios in London. have made, material things, works of art, things that temple that is still in Ibadan (ill. 11). Frobenius had Zimbabwe), Helen Sebidi the shores of Lake Victoria, and the 2003 Wasla (South Africa) and Vote Thebe need description and encourage discussion and himself initiated by proxy into one of the Yoruba (Zimbabwe) workshop in Egypt took place in a holiday camp on My Engagement with Africa refection around the circumstances of their making, mystery cults and, given his education, he could the Gulf of Aqaba, opening in the week the Second In 1955 I had left London at the invitation of Gulf War began. In Kenya, the Wasanii workshop Father Trevor Huddleston,1 to work for a month in things that embody particular life experiences. They easily see the parallels with ancient Greece. In many workshops were designed to bring local communities peers from other cultures in a highly charged working extended its programme to running workshops in the Sophiatown, little knowing that Johannesburg would are voices emblematic of an extraordinary diversity ways, his account is both entertaining and respectful, into contact with participating artists so that an situation was something that could not only shape an South Africa, and exposed a richer and morehuge diverse refugee campsTriangle of havenorthern fourished Kenya, there which so are strongly. Thebecome ideas my home10. Yvonne for the D nextroge- Wfveendell years and of forms, ideas and practices found across the tropical but then we fnd him attributing Ife’s civilisation to the audience for contemporary work could become artist’s career, but also provide working relationships described here by Rob Burnet (Ch 12). my home for threein her years ‘studio’ after at the that. Rafiki As it happened, landscape. and techniques that are exchanged in the process of workshop, Tanzania, 2001 and southern regions of the African continent wherein lost continent of Atlantis: he had fallen into a trap set engaged in local projects. that would last a lifetime. What is hard to convey is the spirit of these the cargo boat that left from Falmouth took so long artists working together have always been a powerful ‘Africa … humanity and the arts have their origins. by his classical education! So whose ‘voice’ was it in During the 1990s it quite quickly became Of course, the network needed money, and much occasions. The opportunity to make work (over six weeks) to reach Durban that when I arrived apparent that these exchange programmes, by of this was provided by the working group of artists Conclusion uninterrupted stimulusby day-to-day to art-making distractions in Africa. in an open at the Priory of Christ the King in Sophiatown, was never The Voice of Africa? Who was speaking for whom? 1936 1986 way of workshops and residencies, were providing putting together a workshop attracting local funding, No attempt has been made in our book to provideenvironment provedI am to happy be a powerful to have been stimulus.Núcleo able de Arte to de assist Colonia de in Huddleston thisPresident Machel had killed inleft, having been withdrawn by his The Voice of Africa? What Frobenius did not realise, or chose to Moçambique opens in Lourenço unexplained air crash; Joaquim Marques, ofering courses in art Chissano becomes president a signifcant number of artists in mid-career with often in kind. The most expensive item in the no- For artists living in isolated communities inand thedesign Anglican order (The Community of the Resurrection, closed off a surveyM of art-makingAP in AfricaUTO or to assign relative process through Triangle and to introduce someLoja-Galeria of opens in Maputo As I worked on this essay I realised we were in ignore, was that for a hundred years there had been important opportunities. By 2005, 25 years after the frills workshop budgets was often airfares. Funding developing world it was, on occasions, mind-1962 Mirfeld, Yorkshire), who felt his political involvement Mozambique Liberation Front 1989 values to a huge and varied output of work and it is the work that has been brought together duringFrelimo this renounces Marxism– the centenary year of one of the frst authoritative a literate, black intellectual class in cities such as (Frelimo) formed in Tanzania from the rest Leninism frst workshop in New York, some 1,400 artists had for long-distance travel came from the Prince Claus blowing. under Eduardo Mondlane threatened their presence in South Africa. The Museu Nacionale de Arte not surprising that there is little discernable common endeavour to a wider audience through this book.(National Museum of Art) opens accounts of African civilisations, Leo Frobenius’ Lagos, Ibadan, Freetown, Accra and Kumasi, a class attended workshops in Africa. For me, the workshops Fund in the Netherlands, the Ford Foundation and By the end of the 1980s, a growing demand1964 immediatein Maputo task allocated to me by the Mirfeld of the world’ Frelimo begins war of 1 aesthetic in works drawn from across an entire independence and forms 1913 book, The Voice of Africa. Volume 1 of the recognisable to European personnel because access remain the purest demonstration of the power of national agencies such as Pro Helvetia and the British for less ephemeral experiences, over NOTEa period‘liberatedS zones’ fathers1991 was to raise funds by putting on concerts in First Ujamaa Triangle International 1. Trevor Huddleston (1913–1998) was Priest-in-Charge of the AnglicanArtists’ Workshop, held in Wimbe learning by exchange. The shock of working with Council. MAKING ART IN continent. If anything characterises them, though,longer it than is a fortnight, prompted a move towards1968 the churchBeach, Pemba of Christ the King. These were my frst book dealt especially with the Yoruba city of Ife to a school–university education had provided them Malangatana stages outdoor Mission in Johannesburg’s Sophiatownexhibition and Oin rlandoMatalana townships from 1943 1992 3 the way that these works take you by surprise in their to 1955. His work as an anti-apartheid activist earned him the nicknameSecond Ujamaa International and its antiquities, in what would become Nigeria, with the means to oppose colonial rule. These were 1975 Artists Workshop, held in Maputo ‘Makhalipile’ or dauntless one, and inMozambique 1955 he became gains independence one of the first direct appeal to the emotions. from Portugal with Samora Galeria Arco-Íris opens in Maputo and in his opening comments he writes, ‘fat lux, let the men who, more than 50 years before Frobenius, recipients of the Isitwalandwe/Seaparankoe,Machel as president the highest award given 14 | MAKING A RT IN AFRICA 1960–2010 TRIANGL E IN AFRICA | 15 AFRICA 1993 2 The much-quoted line by John Donne ‘No man by the African National Congress (ANC1976) for outstanding contributionTDM (Telecommunicações to de there be light’, his point being that Africa was not had initiated research into indigenous languages 1960–2010 Lourenço Marques renamed Moçambique) Biennale launched 2 South Africa’s liberation struggle. Maputo is an island entire of itself’ has particular relevance 2. John Donne, ‘Meditation XVII’ in Devotions upon Emergent Occasions2002 , a continent of darkness and ‘fetish’. The antiquities and histories, who set about defning a sense of local 1977 Movimento de Arte 1623. Centro de Estudos Culturais Contemporânea de Moçambique to Africa and, to an extent, accounts for why the opens in Maputo (Muv’art) founded and Bienal of Ife show us that it had once been a continent of and international cultural worth and who pioneered Expo Muv’art launched Renamo attacks initiate 15- year civil war which claims an workshops and studio centres associated with estimated one million lives 2005 cities and civilisations, and indeed, so it remained: political opposition to colonial rule while yet making Armando Guebuza elected EDITED BY POLLY SAVAGE president 1978 WITH A FOREWORD BY SIR ANTHONY CARO National School of the Visual Arts (ENAV) founded 2009 AND ESSAYS BY ROBERT LODER, JOHN PICTON AND POLLY SAVAGE Instituto Superior de Artes e Cultura (ISARC) opens in Matola, 1983 ofering the first tertiary-level art ENAV introduce basic courses in education in Mozambique Ceramics, Graphics and Textiles 18 | MAKING A RT IN AFRICA 1960–2010 (intermediate courses introduced THE VOICE OF A FRICA: A FRICAN VOICES | 19 in 1989, 1990 and 1995, respectively) LUND HUMPHRIES MOZAMBIQUE

was out of the question. We had to wait for them all to South Africa, in comparison to other countries. I saw When I made Gestation, there were many new go to sleep and then paint at night. blacks there who were so free, who could go out at developments in my life. I had met some very good, 25. David Chirwa David and I used to drink like this, in a beer night and move anywhere, without a policeman asking exciting artists and tutors at the college, and the title

David Chirwa (b. 1968, Kitwe, Zambia) lives and works in Lusaka, where he runs Rockston Gallery and Studios, which was garden. The fgures here are in their late teens or them, ‘Where do you think you are going? You’re not is something to do with that. I wasn’t really thinking founded in 1985 by Lutanda Mwamba (1966–2014). In 1988, Lutanda began training David to make sculpture, and together they early twenties, and they appear not to be enjoying supposed to be in town at this time.’ about South Africa. I don’t think a creative person can started training other artists through the Rockston Studio concept, which in 2000 became part of the Triangle Network. David has also participated in Triangle workshops in Zambia, Zimbabwe, US, UK, Namibia and Egypt. From 1997 to 1998, he carried out their drinks. Their facial expressions are all very I started using abstraction in 1968, immediately afford to dwell on negative things because you can’t a fellowship programme at the National Academy of Fine Arts in Oslo, Norway. On 23 April 2010 he spoke with Polly Savage at after coming back from Europe. I didn’t want other create if you’re in that condition. Politics is just a game his house in Lusaka about his work Libido/Struggling Performance of the Masekela (1997, ill. 96). long. I guess there is a shade of politics in it, of criticising the conditions for blacks. At that time people telling me what I should be doing and how I we’re playing on earth, and it prevents you from being I made this work at the beginning of my career, me. What am I actually doing? What is art? What am brandy or whisky was called ‘white liquor’ and was should be doing it. If you were from a township, the 119. Louis Maqhubela at creative, so as a creative person, you just want to get Robert Loder’s house in while I was training. I didn’t go to formal art school I dealing with? I was dealing with beautiful objects, strictly for whites. You’d be arrested and go to jail if public expected you to paint township scenes. It was London, with work by Reinata rid of it. until much later: I learnt through an apprenticeship sellable objects. I was young, I needed to make a you were caught with a bottle of beer, but then there so limiting. There was this idea that abstract art was Sadhimba, 23 June 2014 I’ve been a student of the Rosicrucian Order since with Lutanda Mwamba. During that time, this work career and have a life, but after seeing that different was a thriving illicit business of selling liquor in the foreign to blacks, but they ignored the fact that African 1962. I’ve learnt so much from studying metaphysics was relevant because I needed to know who I was, I world, those questions were very different. What you townships, like America in the [1920s and] 1930s. abstraction had been there for centuries before the and mysticism. Each of these subjects takes years. needed to have a means to say this is me, the artist, actually believe in and what you stand for all of a I was beginning to make political commentary in West took it and changed it into ‘Abstract art’. Combined with exercises and meditation, it can and this is what I produce. Later, I didn’t really see the sudden doesn’t really exist – it is not there in that world. my pictures, but not in an outright way. I suppose I was I was determined to build myself a studio in the really alter your view of life, and this philosophy has relevance of making this kind of work in that context. This piece bought my air ticket to the Triangle afraid of being cut off as an artist, which really was township, in one of the matchbox houses in Soweto, but been a major part of everything I do. When I told They are beautiful, aesthetically, but for me, the workshop in New York [1997]. When I was there, I possible, because everything we did was dependent they told me, ‘No, it can’t be done, it’s illegal.’ They were the tutors at Goldsmiths that I had to stop thinking challenges from this kind of work aren’t went to the Museum of Modern Art [MoMA] almost on selling to whites. We were selling to people who preventing me from painting landscape work in my own 120. Louis Maqhubela to create something, they thought I was joking, but felt our ordeal though. The Jewish community were backyard. Having seen how others lived in Europe, I Township Drinking Party, 1960 it’s something a person studying metaphysics would ‘I think if I had that idea there any more. every day. I was like, ‘Wow, those Brancusis, those Watercolour on brown paper decided then that I wanted to go to Spain. I had married 49 × 62 cm (19¼ × 24⅜ in) understand. I believe there are three ‘you’s: one in the now, I wouldn’t express My work was very object-orientated, Picassos!’ Then it struck me, it was all about other very supportive; we couldn’t have thrived as artists it wasn’t really based in ideas. It was people – there was nothing about us! There was, without them. They were very offended by everything 121. Louis Maqhubela in 1969 and we had two daughters, so we left as a family physical brain, one we call the higher self and another Untitled, 1989 it in that form’ very aesthetic and it had some African in the archive of historical stuff in the Metropolitan racist, maybe because they were so close to the Oil on canvas in 1973 and moved to London three years later. self even higher than that. They work together. The 112 × 159 cm (44⅛ × 62⅝ in) appeal: it looks modern but also African, Museum, the Egyptian section, Kush, Kongo, from Holocaust. That’s why galleries like Adler Fielding Gestation (ill. 118, 1985) was one of my frst physical brain is not the major source of ideas; it only so people say, ‘Wow, this is a modern African artist long before Picasso. We have done a lot as well, us and Gallery 101 were leading lights for the arts. We works when I had become settled there. I had lots receives ideas from the higher self. So when I say doing something!’ It’s called Libido, which relates to Africans! In MoMA and the Tate, people from my part were made to feel like whites there, and were all of space. I was attending college at Goldsmiths and you must stop thinking before you start creating, I am the witchcraft centres in the rural areas. People access of the world are not there at all. Why is there nothing mixing and drinking together. Fellow blacks couldn’t was really happy. People don’t realise why I went to saying to the physical brain, ‘Stop interfering, and be witchcraft medicine, but they are afraid of witchcraft from the children of the people that were able to understand what was going on; they suspected you art school in my forties. I didn’t want to learn how ready to receive from these other two selves.’ That and don’t talk about it since they claim to be Christian. inspire Brancusi, Picasso and Matisse? They might be were a spy. The authorities didn’t take it seriously. to paint; my intention was to learn how art colleges part receives, while the higher self conceives. That’s That aspect is there in quite a lot of these works, [in in the historical museums but they are not in the most They didn’t think art by whites, let alone blacks, was function. At that time, there was so much fghting in the way I paint. Through meditation I’ve learnt how to this case] because when you see the sangoma, the prestigious contemporary galleries and museums. serious enough to disturb the political establishment. South Africa, and we expatriates realised that we were quiet my brain. Only then can it receive ideas. They didn’t give us any trouble until later, when they very close to winning the battle and were preparing medicine man, you can get all these herbs to boost That, for me, was the taunting question. For an artist, NOTES your ego. Looking at this work raises questions for me the glamour is in the West. If you can show at the started realising the political input in art. to go back to South Africa, in my case to become a 1. South African watercolourist Durant Sihlali (1935–2004) studied at Polly Street Art Centre between 1953 and 1958. He was Head of Fine Arts about the object and the idea. It’s very conficting; like Tate Modern, the Guggenheim, MoMA, that is the In 1966 I won the Adler Fielding Gallery’s Artists tutor in an art college. At frst the college said I was at FUBA from 1983 to 2004. See further references in the chapters on of Fame and Promise prize, which included a three- wasting my time, but I persisted and eventually they Avhashoni Mainganye (Ch 42) and Johannes Phokela (Ch 38). Ephraim fnishing a book but failing to make sense of it. I think ultimate. You are there. But how do you get there? You Mojalefa Ngatane (1938–71) studied watercolour at Polly Street Art Centre if I had that idea now, I wouldn’t express it in that form. have people at the top, the gatekeepers, and they put month trip to Europe and a cash prize. I was the frst offered to train me specifcally for that purpose. I then from 1952 to 1954 and lived in Soweto until his early death, aged 33. 96. David Chirwa 2. Artist Cecil Skotnes (1926–2009) was born in East London, South Libido/Struggling transferred to the Slade to gain further experience, After I travelled out of Africa, to Europe and the rules in place. If you don’t understand their rules, black artist to win that and it changed my life. I saw Africa, and started teaching at Polly Street Art Centre in 1952. Painter Performance of the Masekela, and sculptor Sydney Kumalo (1935–88) was born in Sophiatown, 1997 America, I met other artists who were dealing with forget about getting in. Or create your own space. the work of great Western artists in museums all over and from 1984 Goldsmiths found me empty houses I Johannesburg. He began studying at the Polly Street Art Centre in 1952, Horn and marble something different. There was a whole sense of belief Then you can set your own rules, because you have Europe. I also met very friendly people and it made could convert into studios. I used to live that way and and became an art instructor at the centre in 1960. 128 × 40 × 70 cm (50⅜ × 15¾ × 27½ in) in what they were doing. So lots of questions came to a platform. That is when the drift started from my me so much aware of how unnatural our life was in I loved it!

DAVID C H IRWA | 123 152 | JOH ANNES B U RG AND LIMPO P O – S O U T H AFRICA LO U I S M AQHUBEL A | 153

7. Kwame Akoto (Almighty God) Kwame Akoto (Almighty God, b. 1960, Kumasi, Ghana) studied sign painting as an apprentice for the master painters at Addai and Kobia Arts in Kumasi from 1966 until 1972, when he set up the Almighty God Art Works workshop at the Suame roundabout in Kumasi. In the same period he became a preacher and healer in the Pentecostal sect ‘House of Faith Ministries’, and assumed the professional name ‘Almighty God’. He talked with Atta Kwami (Ch 6) on 30 December 2012 and 2 February 2014 about Dialogue Between Almighty God and Satan (undated, ill. 39).

As an artist who knows about Satan’s works, God gave At the church, I do what I hear. You have to do me this idea for the beneft of mankind. There are what God likes so that when you die you can go some people in this world who don’t even believe in to heaven. They were saying: ‘You cannot run from the existence of God and Satan. I want them to see Death, so you have to do things that God likes. You that Satan exists. That’s why I made this work (ill. 39), have to do good things and not do bad, so that when so they will know how Satan works. you die, you can go to heaven. When you die, we will If you’ve done something, a wise man will not take kill things and kill a goat to celebrate.’ By all means a cutlass or a gun, but [keep] what you have done to you will die, but if you do good things and you die, him in his head. Some paintings can be there for a long God says that he will give you heaven. time and no one will buy God says that 39. Kwame Akoto (Almighty God) (left) them, but after a month or kings and queens, Dialogue Between Almighty two, someone will always rich men and poor God and Satan, undated Synthetic enamel on plywood buy this painting (ill. 41). men die. Great 115 × 81 cm (45¼ × 31⅞ in) That means I have to men die. I pray a 40. Kwame Akoto, Almighty paint more. In fact, this lot. Luke Chapter 1: God Art Works, Kumasi, 2012 painting is the one that verse 37. This is my 41. Kwame Akoto people love to buy the song and nobody (Almighty God) A Wiseman’s Eyes Are in His greatest. If, by God’s else’s. [Sings] For Head, 1992 Synthetic enamel on plywood grace someone wants with God, nothing 87 × 123 cm (34¼ × 48⅜ in) it and I am strong, that shall be impossible. Collection of Atta Kwami and Pamela Clarkson means I have to do it for For with God, them. Anytime I do it and nothing, nothing someone sees it, it will not take long; in two months, shall be impossible. It’s true, you know. I didn’t go someone will have bought it. When I was reading, it to secondary school, but I taught the people of ‘Sometimes, when I dream, I have a came to my mind and God gave me the knowledge. New York. Professor Lyle Ashton Harris brings his revelation. Sometimes when I am talking Sometimes, when I dream, I have a revelation. students and I teach them. I get them some plywood Sometimes when I am talking with someone, God and get ready weeks before they arrive. Then the with someone, God gives me knowledge’ gives me knowledge. Sometimes when I am passing bus brings them, I teach them what to do and then 204. Willie Bester by and people are conversing, God gives me they are painting. People come from many parts of Transition, 1994 Mixed media knowledge. Sometimes, when a pastor is preaching the world and buy my paintings, but I am not only an 92 × 152 cm and they say something, I sketch it. artist. I am an evangelist too. (36¼ × 59⅞ in)

54 | KUMA S I – GHANA KWAM E A KOTO (ALMIGH T Y G OD) | 55 ORDER FORM

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