Obiaa Beko 2021

Editor: So, this is "Obiaa Beko" by Cornelius Annor, painted in 2021 using oil. It's such a vibrant and engaging portrait; I’m drawn to the patterns and how they define the space. What do you see in this piece from a formal perspective? Curator: Immediately, I am struck by the sophisticated interplay between the figurative and the decorative. The figures are rendered with careful attention to light and shadow, creating a sense of volume, particularly the way the figure to the right is bathed in a subtle glow. Yet, these three figures are also flattened, integrated into the highly patterned backdrop and foreground, so that they function almost as a design element within the larger composition. Editor: I notice the contrast in painting style between the figures, one being very colorful, compared to the one wearing solid colors on the right; what effect does this evoke? Curator: It prompts an analysis of form. The artist seems to purposefully disrupt any cohesive illusion of depth. We can interpret this tension as a device—calling attention to the constructed nature of the image, as in a cubist work. This also highlights the materiality of the painting; notice how the surface texture varies and how brushstrokes create a sense of movement, activating the whole image field. Editor: So, it's not just about representing these figures but exploring what painting itself can do, with pattern, line, and texture. Curator: Precisely. It uses portraiture as a vehicle to investigate painterly concerns—the intrinsic qualities of the medium. It is not "about" anything except the potential of formal elements to constitute a visual experience. Editor: I see the figures differently now – less as subjects, more as shapes contributing to an intricate design! Thanks for opening my eyes to the purely visual language at play. Curator: Indeed. And recognizing the construction encourages us to engage critically with what constitutes pictorial meaning and expression.