About Teddy Osei
Teddy Osei is a ceramic sculptural artist and an educator whose work explores the delicate balance and tensions between traditional and contemporary culture of Ghana and the Western world. His work is characterized by the use of traditional African motifs and materials such as clay, Chinese plaid bags (Ghana-must-go), and photography. He is particularly interested in exploring the relationship between the two cultures and how they can be used to create powerful and meaningful works of art. Teddy Osei's work has been featured in several exhibitions and his pieces can be found in major collections including the Changchun International Ceramic Museum and many others. Teddy Osei has exhibited his work in galleries and museums around the world, including The Cornell Arts and Entertainment Complex, Joplin, MO, Clay Art Center, Port Chester, NY, Maison Art Gallery, Beijing, China, and many others. He has received numerous awards and honors, including the Multi-cultural Fellowship-NCCECA, Carol Gorelick Scholarship-Penland, and many others.
Teddy Osei's work is a powerful exploration of identity and culture, and his unique approach to artmaking has made him an important artist in the contemporary art world. His works are a reminder of the importance of understanding the complexities of migration and cultural exchange, and they inspire viewers to think critically and creatively about their identities.
The exploration of how borders are drawn and the power dynamics that form the basis of these discourses is one that I find particularly intriguing. In this body of work, I create ceramic vessels shaped to resemble the abstracted form of the gourd fruit, a fruit that is native to many parts of the world and is associated with migration and sojourning. The vessels are primarily hand built and decorated with glazes and symbols depicting the tension between identity and displacement. By utilizing the gourd form, I create a visual conversation that highlights the complexity of the human experience and explores what it means to exist in a state of constant transition. My sculptures also reflect a sense of movement, with their organic forms and vibrant colors, as well as an exploration of how we are shaped by our environments. By combining the traditional art of gourd carving with modern design elements, I craft unique and visually intriguing works of art that are reflective of both my journey and the journey of others.
I evoke a sense of wonder and exploration and encourage viewers to consider how our personal histories and collective stories shape our lives. My forms evoke a sense of nostalgia, mystery, and intrigue through the use of subtle details and textures. Through the use of symbolism and the exploration of ancient cultural practices, my work seeks to communicate a message of hope and resilience in the face of adversity, while creating an environment that challenges the viewer to consider themes of identity, cultural heritage, and the complexities of migration.
In my mixed media painting, I am particularly interested in exploring the idea of the continuous journey of humans and how this affects our identity. My works serve as a visual narrative of the physical and psychological journey of migration, the losses, and gains, and how this experience has molded my identity. In this body of work, I use the “Ghana must go bags” that are popular in some African countries as a metaphor for displacement, diaspora, and migration. The pieces of fabric, the ropes, and Ghana must-go bags become a metaphor for the journey of displacement and the collective memory of a people. The “Ghana must-go” bags are also a reference to the antiquity of the African continent and its people, as well as a way to recognize the history of African migration. By combining the physical and spiritual aspects of the rope, I create an aesthetic that is both beautiful and powerful.
Through the use of traditional painting techniques, as well as the incorporation of materials such as paper, fabric, and plastic, I create works that express the physical and emotional journeys of individuals who have experienced migration. In my paintings, I often depict plain background that is void of color gradient, in order to reference the emptiness and sense of loss that can accompany migration. I also incorporate elements of my own personal experience and cultural background into my work, such as traditional patterns and symbols from Ghana. Ultimately, my intention is to create works that are both aesthetically pleasing and emotionally evocative, while also exploring the complexities of the migration experience.
About the art
Teddy Osei is a ceramic sculptural artist and an educator whose work explores the delicate balance and tensions between traditional and contemporary culture of Ghana and the Western world. His work is characterized by the use of traditional African motifs and materials such as clay, Chinese plaid bags (Ghana-must-go), and photography. He is particularly interested in exploring the relationship between the two cultures and how they can be used to create powerful and meaningful works of art. Teddy Osei's work has been featured in several exhibitions and his pieces can be found in major collections including the Changchun International Ceramic Museum and many others. Teddy Osei has exhibited his work in galleries and museums around the world, including The Cornell Arts and Entertainment Complex, Joplin, MO, Clay Art Center, Port Chester, NY, Maison Art Gallery, Beijing, China, and many others. He has received numerous awards and honors, including the Multi-cultural Fellowship-NCCECA, Carol Gorelick Scholarship-Penland, and many others.
Teddy Osei's work is a powerful exploration of identity and culture, and his unique approach to artmaking has made him an important artist in the contemporary art world. His works are a reminder of the importance of understanding the complexities of migration and cultural exchange, and they inspire viewers to think critically and creatively about their identities.
The exploration of how borders are drawn and the power dynamics that form the basis of these discourses is one that I find particularly intriguing. In this body of work, I create ceramic vessels shaped to resemble the abstracted form of the gourd fruit, a fruit that is native to many parts of the world and is associated with migration and sojourning. The vessels are primarily hand built and decorated with glazes and symbols depicting the tension between identity and displacement. By utilizing the gourd form, I create a visual conversation that highlights the complexity of the human experience and explores what it means to exist in a state of constant transition. My sculptures also reflect a sense of movement, with their organic forms and vibrant colors, as well as an exploration of how we are shaped by our environments. By combining the traditional art of gourd carving with modern design elements, I craft unique and visually intriguing works of art that are reflective of both my journey and the journey of others.
I evoke a sense of wonder and exploration and encourage viewers to consider how our personal histories and collective stories shape our lives. My forms evoke a sense of nostalgia, mystery, and intrigue through the use of subtle details and textures. Through the use of symbolism and the exploration of ancient cultural practices, my work seeks to communicate a message of hope and resilience in the face of adversity, while creating an environment that challenges the viewer to consider themes of identity, cultural heritage, and the complexities of migration.
In my mixed media painting, I am particularly interested in exploring the idea of the continuous journey of humans and how this affects our identity. My works serve as a visual narrative of the physical and psychological journey of migration, the losses, and gains, and how this experience has molded my identity. In this body of work, I use the “Ghana must go bags” that are popular in some African countries as a metaphor for displacement, diaspora, and migration. The pieces of fabric, the ropes, and Ghana must-go bags become a metaphor for the journey of displacement and the collective memory of a people. The “Ghana must-go” bags are also a reference to the antiquity of the African continent and its people, as well as a way to recognize the history of African migration. By combining the physical and spiritual aspects of the rope, I create an aesthetic that is both beautiful and powerful.
Through the use of traditional painting techniques, as well as the incorporation of materials such as paper, fabric, and plastic, I create works that express the physical and emotional journeys of individuals who have experienced migration. In my paintings, I often depict plain background that is void of color gradient, in order to reference the emptiness and sense of loss that can accompany migration. I also incorporate elements of my own personal experience and cultural background into my work, such as traditional patterns and symbols from Ghana. Ultimately, my intention is to create works that are both aesthetically pleasing and emotionally evocative, while also exploring the complexities of the migration experience.