Wogb3 Jek3 (We From Far)

2026Plastic, wireDimensions variable

Serge Attukwei Clottey’s practice explores memory, movement, and belonging through Afrogallonism, a visual and conceptual language named for, and centred around, the yellow Kuffuor gallon—plastic containers originally used to transport cooking oil and later widely repurposed across Ghana for storing and carrying water, fuel, and other everyday essentials. Wole Worhe (We Know Each Other) and Wogbe Jeke (We Are From Far) (2026) ask what it means for something to return, transformed, to the place that once held it. A warehouse, representative of the spaces that once stored and distributed these containers, is entirely reclad with the material it may once have held, reversing the relationship between object and building. No longer a functional structure, it becomes a place of cultural memory and reunion. From the warehouse, a yellow road extends outwards, tracing a symbolic journey of return—back to where it began, back to its source.

Artist's Biography

Serge Attukwei Clottey

Accra, Ghana

Serge Attukwei Clottey’s practice explores the symbolic life of everyday materials and their circulation through local and global economies. Central to his work is Afrogallonism, a visual and conceptual language developed around the yellow plastic gallon widely reused across Ghana. By cutting and stitching these discarded containers into tapestry-like installations, Clottey transforms found materials into reflections on trade, migration, consumption, and collective memory, revealing how ordinary objects carry histories of exchange, resilience, and identity. His recent exhibitions include \[Dis\]Appearing Rituals: An Open Lab of Now for Tomorrow at Gallery 1957, Accra (2025); Beyond the Skin at Museu Tàpies, Barcelona (2024); and Time and Chance at the 60th Venice Biennale (2024). Clottey studied at Ghanatta College of Art and Design, Accra (2004), and Escola Guignard, Belo Horizonte, Brazil (2007). He received an honorary Doctor of Arts from the University of Brighton (2019) and was shortlisted for the Norval Sovereign African Art Prize (2023).

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