Edward Kwaku Boateng

Year of birth: July 14, 1993.
Where do you live: Worcester, Massachusetts, USA.
Your education:
Master of Arts in Studio Art – Eastern Illinois University, USA.
MSc. Project Management – University of the Cumberlands, Williamsburg Kentucky, USA.
MA. Organizational leadership and Governance – University of Ghana.
Describe your art in three words: Empathetic, Engagement, Dualistic.
Your discipline: Sculpture, Mixed media.
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Your sculptures often focus on the struggles of marginalized communities. Can you describe the specific stories or experiences you aim to highlight through your art?

My sculptures are deeply rooted in the struggles of marginalized individuals in different communities, focusing on themes of powerlessness, oppression, and resilience. I aim to highlight the experiences of those who lack political and social power, individuals caught in systemic conflicts, victims of violence, and those who suffer under corruption and human rights abuses. I perceive my works as a monument to these individuals, preserving their narratives and challenging viewers to confront the realities of social injustice.

How do you choose the materials you work with, and how do they relate to the themes of power and inequality in your work?

Each material I use and how I use them carries a symbolic weight that reflects the themes of power and inequality. I see ceramics as very fragile but with an enduring nature, representing the resilience of marginalized communities despite their vulnerability. The use of scrap metal and recycled materials speaks to issues of displacement and resourcefulness, mirroring the way oppressed people and communities repurpose what little they have yet must survive. Raised in Ghana, Africa, wood and wood dust play a crucial role. I associate this material with my tradition and history to reinforce the cultural continuity that persists despite external forces trying to erase it.

Edward Boateng | Scarification | 2024

Your work blends traditional and contemporary techniques. Could you explain how you fuse these two approaches in your creative process?

My creative process merges traditional art forms with contemporary methods to create a dialogue between past and present. I draw inspiration from indigenous carving techniques, traditional pit firing techniques, textile traditions, and symbolic motifs while integrating modern sculptural methods such as digital fabrication, laser cutting, and 3D modeling. This fusion allows me to reinterpret cultural symbols within a contemporary framework, ensuring that the voices of the past continue to resonate in the present.

Can you share the symbolism behind the use of ceramics and other materials in your sculptures?

Ceramics holds deep significance in my work. It is both fragile and enduring, an apt metaphor for the precarious yet persistent existence of marginalized people. The process of firing clay, where raw material is subjected to intense heat to achieve permanence, reflects the transformative struggle of oppressed communities. Similarly, my use of recycled and found objects speaks to the resilience and adaptability of those who are forced to create from what society discards.

Edward Boateng | Void | 2024

Power imbalances are central to your work. How do you hope your sculptures inspire change or reflection on these issues in society?

Power imbalances are at the heart of my work, and I strive to create pieces that provoke thought and inspire dialogue. My sculptures are not passive objects; they demand engagement. By representing the struggles of marginalized people through material and form, I hope to evoke empathy and encourage viewers to reconsider their own positions within systems of power. Ultimately, my goal is to challenge the narratives that sustain inequality and inspire a collective responsibility for change.

Could you tell us about your recent piece, “Scarification,” and what it represents in the context of your broader artistic practice?

Scarification explores the cultural and political dimensions of bodily marking. Scarification has historically been a signifier of identity, status, and belonging, yet in contemporary contexts, it can also symbolize wounds inflicted by oppression. In this piece, I drew inspiration from my own Ghanaian culture, the Moshi-Dagomba ethnic group. I mimicked the process of scarification on my ceramic mask, crowning the piece with a fragmented metal plinth that suggests both protection and injury. Scarification embodies the duality of suffering and strength, speaking to how marginalized communities carry their histories both as marks of trauma and badges of resilience.

Edward Boateng | Seeds | 2024

How do you approach the challenge of making art that speaks to political issues while maintaining its artistic integrity and emotional impact?

Creating politically charged art requires a careful balance between message and form. I ensure that my work remains emotionally compelling by grounding it in personal and collective histories rather than overt didacticism. I do not aim to dictate a singular interpretation but rather to create space for reflection, allowing viewers to engage with the work on their own terms. Art has the power to transcend rhetoric, and by embedding political themes within evocative material and form, I seek to create sculptures that move people to think, feel, and act.