A broken pot does not always have to be discarded. In the hands of Ghanaian artist Frederick Ebenezer Okai, fragments of earthenware become something altogether different: sculptural expressions of belonging, resilience and the possibility of rebuilding fractured relationships.

Presented at Nubuke Foundation in Accra, Okai’s exhibition uses ceramics to explore a question that extends beyond art: how can people with different histories, identities and experiences find ways to live together without losing what makes them distinct?

The artist’s approach has been shaped by visits to more than 30 pottery centres across Ghana.

Encounters with traditional potters exposed him to generations of practical knowledge, craftsmanship and cultural expression.

These experiences have encouraged him to move beyond conventional academic methods towards a more intuitive practice rooted in community and shared heritage.

His sculptures bring together fragments collected from different places, held by glue and wire. Rather than disguising the cracks, Okai makes the repairs visible.

The technique recalls wabi-sabi, a Japanese aesthetic philosophy that finds beauty in imperfection, ageing and the marks left by time.

Traditional Ghanaian ceramic motifs, including decorative dots, further connect the works to indigenous pottery practices.

Yet their meaning reaches into contemporary conversations about social divisions, identity and reconciliation.

Curated by Senegalese architect and cultural policy consultant N’Gonné Fall, the exhibition offers a thoughtful reminder that unity does not require everyone to become the same.

As the exhibition approaches its closing date of April 17, 2027, its message remains particularly resonant: sometimes, the strongest bonds are formed not by hiding our fractures, but by finding the courage to repair them.

Art Africa Gallery has held the fourth edition of its Colour Cure exhibition, using art to spotlight the responsibilities women bear in society and raise awareness about breast cancer.

The exhibition, themed She Carries the Market, features works by seven female artists – Abena Oyiwaa, Betty Acquah, Vicki Adoe, Fauziya Fliege, Serene Kalme, Nyornuwofia and Charity Derby Akeiti – as well as documentary photographer Ask Photos.

The works explore the often-overlooked labour, resilience and experiences of women.

Speaking on behalf of the gallery, Partner Manager and co-curator, Henry Kwaku Duah, said the initiative was established by Ghana’s Ambassador to South Korea, Kojo Choi, to amplify women’s stories, support female artists and promote breast cancer awareness.

He said this year’s theme draws inspiration from Makola Market, where women traders and kayayei carry heavy physical loads while shouldering responsibilities that extend beyond their livelihoods.

“Sometimes, we see women only from the outside and fail to recognise what they carry within. From the market to the home and the workplace, women bear responsibilities that deserve greater appreciation,” he said.

Mr Duah said the theme was intended to resonate with all women, including those balancing formal employment with childcare and household duties.

He urged the public to visit the gallery and purchase artworks, noting that a portion of sales would support breast cancer awareness through Sonotech Medical Centre.

He said the exhibition also benefited from partnerships with Samsung, PaySwitch Company Limited, Data Bloom Africa and other organisations, which he hoped would help build a lasting community around art and breast cancer advocacy.

Co-curator Sarah Emefa King, known as Sasa, said the exhibition was personal, having witnessed breast cancer affect members of her family and participated as an artist in Colour Cure two years ago.

She praised the eight exhibitors for bringing distinct perspectives to the theme, from the raw realities documented by Ask Photos to the expressive paintings of established artists Betty Acquah and Vicki Adoe, alongside emerging voices.

“Each artist brings something different. Photography captures the realities around us, while painting allows us to imagine possibilities beyond hardship. Together, these works show that women cannot be confined to one image or expectation,” she said.

Documentary photographer Ask Photos said her participation was a way of contributing to breast cancer advocacy, stressing that the disease could affect anyone.

“I feel people sometimes believe sickness will never touch them. But cancer could absolutely affect me, too. By contributing a percentage of my art sales, I can support the work being done in breast cancer awareness,” she said.

Veteran artist Betty Acquah, exhibiting at Colour Cure for the fourth time, said her three works reflected women’s strength and determination.

Her piece Balancing Act draws on the agility and resilience of kayayei who carry heavy loads, sometimes without using their hands to steady them.

“I wish I could give more towards breast cancer awareness. For now, we are contributing a percentage of sales, and I hope we can do more in the future,” she said.

For first-time exhibitor Abena Oyiwaa, a self-taught artist who has painted for five years, the inspiration lies in the invisible labour and social pressures women endure.

Her work explores the tension between society’s expectations around education, marriage and motherhood and women’s personal aspirations.

“I want to show the beautiful chaos of being a woman, especially an African woman, and what we go through beyond our appearance and what people see,” she said.

The exhibition brought together the CEO of PaySwitch Company Limited, Mr Aaron Demenu; the Ambassador of Japan to Ghana; the spouses of the Turkish and Danish ambassadors to Ghana; and other artists.

The exhibition opened to the public on October 24 and is scheduled to run for one month, through November 23, 2026.

Music has a way of preserving moments that photographs sometimes miss: the sway of a dancer, the excitement of a trumpet solo, the laughter shared between strangers gathered around a band.

For veteran Ghanaian painter Larry Otoo, these fleeting encounters are worth preserving on canvas.

His exhibition, Let’s Dance, explores how music, movement and communal celebration form part of Ghana’s cultural memory.

Painting the Sound of a Generation

Featuring 48 works at Tiga Art Gallery, the exhibition draws on the infectious rhythms of jazz and highlife, translating their energy into bold colours, expressive brushstrokes and animated figures.

Musicians appear alongside dancers and spectators, capturing the relationship between performers and audiences that makes live music such a communal experience.

Highlife, in particular, occupies an important place in Ghanaian social history. Its melodies have accompanied generations of celebrations, from family gatherings and social dances to public festivities.

Otoo’s paintings recall these shared experiences, presenting music as an expression of belonging rather than simply entertainment.

Beyond Music: An Archive of Ghanaian Life

At 70, Otoo’s artistic interests extend beyond musical celebrations. His paintings of traditional durbars document the ceremonial language of Ghanaian chieftaincy, including royal umbrellas, oath-taking swords and carefully observed seating arrangements.

Scenes of rural livelihoods also preserve glimpses of traditions shaped by generations of community life.

Recognised with the Asantehene Otumfuo Osei Tutu II Art Award for Lifetime Achievement in Painting, Otoo continues to approach art as something to be shared with the public.

Let’s Dance ultimately makes a compelling point: cultural heritage does not live only in museums, archives or historical accounts.

It also survives in familiar songs, dancing bodies and ordinary gatherings. The exhibition closes on November 17, 2026.