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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. Drawn to the coastline, Clottey continues his exploration of the relationship between material, place and water, building on an earlier body of work created along Ghana’s coast. Wole Worhe (We Know Each Other) (2026) brings this ongoing investigation to Abu Dhabi, where the sea meets the historic port and the city’s evolving landscape. Unfolding across the breakwater, the installation extends the repurposed Kuffuor gallons into the coastal landscape, while a central viewing platform opens towards the sea and historic port. The work moves between the intimacy of an enclosed space and the expanse of its maritime surroundings, creating a dialogue between the material’s origins and its new setting.

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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