Yaw Owusu


Yaw Owusu, Midpoint, 2017, treated copper coins on wood, courtesy of the artist and Gallery 1957


Yaw Owusu (b.1992) creates sculptural installations that repurpose found objects, shifting the value of otherwise-worthless materials into things of beauty. Built from countless pieces of loose change known as “pesewa” coins, his work activates urgent questions around economic and political independence in contemporary Ghana. First introduced as an attempt to cure the countries economy’s inflation in 2007, these small copper coins have almost no value in today’s financial climate, enabling the artist to use them as a primary material. Typical of Owusu’s approach to working with local agencies to develop his work, the artist acquired the coins by negotiating with Ghana’s banks – a bureaucratic process that is as important to the artist’s practice as the final works.

Created as structural works that embrace the same organic qualities of their materials his sculptures have incorporated as much as twenty-four thousand coins, transforming under various conditions and processes. The bronzed coins undergo various natural and chemical treatments, using salt from the south coasts and vinegar from the mid and eastern regions to reveal their age and quality. They can appear fixed onto wooden panels, draped over walls or loosely hanging onto surfaces to form a camouflage, however they are anything but decorative displays of natural beauty. Instead, these installations are an expression of the artists reflections on the complex processes that demarcate Ghana’s social and political systems. Like the economy itself, the sculptures seem robust due to their dense façade, yet they are in flux and constant movement with their surroundings. The surfaces act both as protective layer of indestructible metal and an shiny foil made up of empty matter.

Through his social engaged yet visually rich practice, Owusu’s continues to question the non-functionality of the countries ongoing infrastructural development. In his new body of work, devalued coins are transformed into a detailed surfaces resembling maps. In one instance, they could be images of old colonial maps representing economic power structures drawn by history, or they could be alternative typographies that map out new possible relations for a more resourceful future. While the material itself is inseparable from the failure of socio-economic structures in Ghana, the artist playful approach is rooted in a sense of alchemy that embraces the complexity of notions of value, exchange and locality in an increasingly global environment.


Born 1992, Kumasi, Ghana

Lives and works in Accra, Ghana



  • MFA, Pratt Institute, New York.

2015 – 2017

  • B.F.A. Kwame Nkrumah University of Science and Technology, Kumasi



  • Primaries’, Stueben Gallery, New York


  • All That Glitters, curated by Osei Bonsu, Gallery 1957, Accra
  • ‘Second Life’, MACAAL. Marrakesh - Morocco
  • Special Curated projects, ArtX Lagos Art fair. Victoria Island - Nigeria


  • Cornfields in Accra, Museum of Science and Technology, AccraSpirit Robot,
  • Chale Wote Street Art Festival, Jamestown, Accra
  • ‘16/16’, Collection of Gallery 1957, Accra
  • Part IV International Artist project, Galerie 102. Berlin - Germany
  • Spirit Robot, Chale Wote Art Festival, James Town - Accra
  • If You Love Me... - Locomotive shed, Kumasi Railways Station, Kumasi


  • Silence between the Lines, Prime Motors Showroom, Kumasi

  • The Gown Must Go To Town, Museum of Science and Technology, Accra

Art Fairs


  • New York Volta Art Fair - USA


  • Johannesburg Art Fair, Johannesburg – South Africa


  • ArtX Lagos, Nigeria

Workshops / Residencies / Talks


  • CopeNYC Artist Residency, Brooklyn, New York
  • Pechakucha Accra, Goethe Institute, Accra


  • International Artists Project, Galerie 102, Berlin - Germany


  • 89+ workshop, Nubuke Foundation, 2015



  • Winner - Kuenyehia Art Prize for Contemporary Ghanaian Art


  • Seth Dei Foundation, Accra
  • The World Bank Collection, Washington D.C.
  • Musée d'Art Contemporain Africain Al Maaden (MACAAL), Marrakech



Yaw Owusu, All That Glitters, Exhibition Catalogue, 2017

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