Adjei Tawiah (1987) is a Ghanaian emerging artist known and revered for his unique approach of using nylon sponge for vibrant figurative representations. His unique technique which he has labelled “Sponge Martial” – is a practice inspired by the cleansing of his mother’s corpse in the mortuary. Tawiah channels this idea of cleansing through his work, the bright, vibrant colours a representation of the bright moments that follow the darker times in life. Tawiah hopes by developing his artistic voice - his work will serve as a source of inspiration to humanity through times of affliction.
Adjei Tawiah was an alumnus of the prestigious Ghanatta College of Art and Design in Accra, Ghana. He now lives and works in Accra, where he is inspired by his community and surroundings. Tawiah will have his first solo exhibition with Gallery 1957 in London, and had already numerous shows in Ghana and very recently in the USA (New York and Los Angeles), one of them Self-Addressed being curated by Kehinde Wiley. He has been mentioned in renowned papers such as Flash Art, New York Times and Fad Magazine.
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| Adjei Tawiah |
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| Adjei Tawiah at work |
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| Untitled, 2021 |
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| White Window, 2021 |
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| 2 chains, 2021 |
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| Anklet II, 2021 |
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| Cow Girl, 2021 |
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| Irony, 2021 |
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| Pink on Black, 2021 |
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| Queen of the South, 2021 |
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| Red on black, 2021 |
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| Reenleaf Suit, 2021 |
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| Yellow Punk, 2021 |
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| Black Attire, 2022 |
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| Blue Collar, 2022 |
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| Melanin-Goddess, 2022 |
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| Red Berries, 2022 |
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| Watermelon Suite, 2022 |
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| Yellow Pullover, 2022 |
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| Don't Let Go of Love, 2023 |
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| I'm Still Here, 2023 |
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| I've Got This, 2023 |
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| My Love Will Never Die, 2023 |
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| Untitled, 2023 |
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| Yellow Cowboy, 2023 |
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| Checkers Wrap, 2024 |
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| Hopefulness, 2024 |
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| Off Duty, 2024 |
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| Palet Seat, 2024 |
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| Citrus Crown, 2025 |
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| Bridesmaid, 2025 |
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