In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
2020
metal, 79 x 79 cm
Moses Adjei (b. 1995) is a Ghanaian interdisciplinary artist whose practice, rooted in personal experience and social engagement, is best described as social sculpture. His works examine the effects of the postcolonial economy, the dynamics of street culture, and the complexities of identity, memory, and femininity, which is seen as a symbol of national identity. Adjei’s art is marked by originality, emotional depth, and dedication to social change.
Adjei’s creative process begins with a moment of quiet introspection, during which the artist returns to childhood memories that have shaped his identity. As he himself says, I paint to heal. I paint to regain my memories and my trauma.
In 2024, he ranked among the top three finalists of the Kuenyehia Prize, which recognizes some of the most compelling contemporary African artists.
