(Amatoritsero Ede in conversation with Betty Acquah)<\/em><\/p>\nngg_shortcode_0_placeholder\n Amatoritsero Ede<\/b>: Betty, thank you; it is a pleasure to have you on MTLS. First how would you describe your style? I am referring specifically to the technique in the series to which your pieces titled \u2018Chromatic Shards\u2019 belong. The style reminds me of Pointilism.<\/p>\n Betty Acquah<\/b>: The pleasure is mine. Thank you for having me. A.E.:<\/b> Is there a philosophical concept behind your art and in your approach?<\/p>\n B.A.:<\/b> I always say I am still in the process of forming a philosophy. For now, I simply follow where my heart leads me. When the philosophy behind my work is fully formed, I promise you will be one of the first to know!<\/p>\n A.E.:<\/b> How do you achieve the aesthetic arrest that is so strongly evident in your work; they are so rich and energetic. What is your creative process?<\/p>\n B.A.:<\/b> It came through a bit of experimentation. Our third year at the university saw all students trying to come up with unique styles. I had previously been drawn to the works of the French Impressionists. In fact, I fell in love with the drawings and paintings of Pierre Agustine Renoir. George Seurat\u2019s work was interesting, except I found it a bit too still for my liking. Being a dancer, I thought of creating more movement and excitement by modifying the same principles Seurat used. He said the elements of painting could be used to portray calmness, sadness, happiness and other emotions. I normally begin my work with a little sketch of the subject matter in my sketchpad. I place different colours at random on my nicely primed canvas. Then I give it second coat of one particular colour depending on the theme. I then transfer my sketch onto the canvas by making tiny, almost invisible, dots with a darkish colour. In my work, I scatter brushstrokes in all directions, often painting subject matter and background simultaneously. However, I do follow a specific rhythm and always careful not to lose concentration.<\/p>\n A.E.:<\/b> Could you give us insights into your beginning and development as an artist? <\/p>\n B.A.:<\/b> Growing up in Cape Coast, in the Central Region of Ghana, I somehow knew instinctively that I was going to be an artist. Right from nursery school, I used to draw things that got my teachers, family and friends interested in my work. On entering the College of Art, Kwame Nkrumah University of Science and Technology in Kumasi, I almost veered into Textile Design as my major, but my lecturers would have none of it! So they managed to persuade me to undertake Painting instead and I ended up with a First Class in my B. A. (Hons) Art. I later went back to the same university to complete an M. F. A. in Painting after a professional Art course at the Tokyo School of Art in Japan. I also worked at the Centre for National Culture and Berj Art Galleries both in Accra, Ghana before settling down to freelance painting in my own studio.<\/p>\n A.E.:<\/b> What drew you to art?<\/p>\n B.A.:<\/b> It is difficult for me to tell how I was drawn to art, because as I said, I have been in it for as long as I can remember! Having said that, I must add I loved to gaze at artworks, be they in books or real. I also found other artists and their works very fascinating! <\/p>\n A.E.:<\/b> If any, what has been the role of exhibitions in your growth as an artist?<\/p>\n B.A.:<\/b> My first solo exhibition was at PAFAM ’90 (Pan African Festival of Arts and Music) which was held at the Trade Fair grounds in Accra. It was quickly followed by another one at the then AMAHEMA Art Gallery. I later joined a four-man show which featured already famous Ghanaian painters, Amon Kotei (who was the designer of the Coat of Arms of Ghana), Professor Ablade Glover (now owner of the Artists Alliance Gallery) and Tafa Fiadzigbe (who now lives and paints in the U. S. A.). My works have also been exhibited in India, Japan, Nigeria, Spain , U.K., U. S. A. etc. I must say, all the above exhibitions have helped me greatly by boosting interest in, and bringing my work to the attention of those who like them.<\/p>\n A.E.:<\/b> What is the art scene like in Ghana? <\/p>\n B.A.:<\/b> The Ghanaian art scene looks promising indeed. There are many artists with unique styles and there is great potential for Ghanaians themselves to start collecting. The challenge is to get the whole industry up and running; galleries, museums, middle men, Art magazines etc!<\/p>\n A.E.:<\/b> How can Canadian art lovers acquire your work?<\/p>\n B.A.: <\/b>The best places to view my works are at the Artist Alliance or Tiga African Art Galleries in Ghana. Both Galleries can be reached by phone, online or by email: +233-245251404; www.artistsallianz.com and +233-20780460; atigerlil300@hotmail.com respectively. Also Jayne During in the U.S.A. will soon start selling my works as well.<\/p>\n A.E.:<\/b> Thank you for taking the time away from your easel to talk to us. <\/p>\n B.A.:<\/b> I am totally honoured to have taken part in this conversation. Thank you very much!<\/p>\n<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" Pointilism (Amatoritsero Ede in conversation with Betty Acquah) Amatoritsero Ede: Betty, thank you; it is a pleasure to have you on MTLS. First how would you describe your style? I am referring specifically to the technique in the series to which your pieces titled \u2018Chromatic Shards\u2019 belong. The style reminds […]<\/p>\n","protected":false},"author":1,"featured_media":1475,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-326","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/pages\/326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/comments?post=326"}],"version-history":[{"count":1,"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/pages\/326\/revisions"}],"predecessor-version":[{"id":2040,"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/pages\/326\/revisions\/2040"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/www.mtls.ca\/issue17\/wp-json\/wp\/v2\/media?parent=326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nYou are right! I use the pointillist technique for my oil and acrylic paintings. Pointillism is known to have begun in France during the Neo-Impressionist era. It is the application of small strokes or dots of colour to a surface such that they appear to blend at a distance.
\nThe same principle is seen in a colour photograph when viewed through a magnifying glass, and also similar to how pixels behave on a computer screen.<\/p>\n