"I was actually creating art because it was beautiful—and now I’m having to create meaningful art so I can add my voice to all of the things happening around us, even in my life."— @samo.space
In this episode, we explore the emerging artistic practice of Samuella Graham (@samo.space) as she opens up about her challenges and solutions for navigating them. Samo is a visual artist from Accra, Ghana, with a background in Communication Design from KNUST (Kwame Nkrumah University of Science and Technology). Her distinctive pixelated painting style, shaped by design training and unique visual perception, combines textured abstraction with symbolism to address themes of menstruation, womanhood, gender inequality, and bodily autonomy.
Her ongoing series, Stained Roses—part of the broader initiative Roses Are Red, Periods Are Not Blue—responds to the cultural stigma around menstruation. It was sparked by a personal disagreement with her father over Leviticus 15:19, a Bible verse referring to menstruating women as “unclean.” Red roses appear throughout her work as metaphors—symbolizing both the beauty and the burden of period stigma.
Samo is a 2025 alumna of the African Female Artist Mentorship Program and the inaugural recipient of the Obaasima Creative Grant by Black Girl Fest [2025], recognized for her bold storytelling, community engagement, and advocacy through contemporary art. Samo continues to deepen her practice—using painting as a tool for reflection, resistance, and radical care.
“In the beginning, it was a struggle of ‘let me follow principles and rules’—that was the challenge for me, trying to make my work the best. Now, I’ve learned to move away from that, and I’m navigating the art space with ease.” — @samo.space
From local exhibitions in Ghana to international showcases in Abidjan and Côte d’Ivoire, Samuella Graham’s work is gaining both national and global attention. In this conversation, she reflects on her journey as a socially engaged artist and discusses how art can confront socio-economic challenges and cultural stereotypes.
In this episode, I sit down with Henrika Muthoni Amoafo for an introspective dialogue on self-discovery in liminal spaces — the in-between. Together, we reflect on mindfulness, discernment, and how we move through the layered terrain of the contemporary art world.
Almost a year later, I caught up with Henrika to ask what’s shifted since we recorded this episode. Here’s what she had to say: "Reflecting on our dialogue on Her Palette almost a year ago, I’m struck by how we explored everything from authenticity and self-discovery to the ways we navigate care and community. We walked those paths between tradition and innovation, examining the evolving contemporary art landscape while integrating mindfulness throughout…
......Listening back, I’m particularly drawn to how our conversation embodies the liminal space—that transformative area between established understanding and new perspectives. As someone navigating life through multiple modalities like art, movement, writing, and facilitation, I find this in-between space crucial for understanding myself, collaborating across boundaries, and driving meaningful change.
"Henrika Muthoni Yaa Amoafo is a Kenyan-Ghanaian curator, cultural practitioner, and facilitator whose work bridges artistic curation with wellness and social change. Based in Accra with roots in Nairobi, she creates thoughtful, community-centered experiences that nurture storytelling, equity, and belonging across exhibitions, conversations, and collaborative programs. As Gallery Manager at ADA Contemporary Art Gallery, she leads curatorial and programmatic initiatives that spotlight historically marginalized voices across Africa and the diaspora, while fostering meaningful dialogue between local patronage and the global art market. Henrika draws on her background in business from Ashesi University and her intercultural training as a Senior Fellow of the Melton Foundation to inform a practice grounded in mindfulness, care, and connection.
Women In Arts highlighted in this episode: Bisi Silva (@ccalagos)Koyo Kouoh (@madamekoyo) Odile Tevie (@nubuke_foundation) faridah folawiyo (@ff_projects_) Kimberly Drew (@museummammy) Aindrea Emelife (@aindreaemelife) Solange Knowles (@solangeknowles)Tokini Peterside-Schwebig (@artxlagos)
Listen to this episode on Spotify, Apple Podcast and Oroko Radio.
Show Title: "Her Palette with Assumpta Dickens" Follow us on Instagram @omogeandcoprojects
Production Team 🎥 @aadickens@koncert_1z @sun.sonics@norkor.nortey @qwodjo_beans @agyeipeprahprince
In this episode, we invite globally acclaimed artist Zohra Opoku to share an exclusive insight into her new body of work, "Give Me Back My Black Dolls." The captivating doll installation is currently on view at Kunsthal Mechelen in Belgium until March 2, 2025. It features 100 dolls dyed with Nigerian shoe ink and dressed in Ghanaian tie-dye attire. Zohra reflects on her childhood as a Black girl growing up in East Germany, unpacking themes of identity, colour politics, and representation. She shares personal stories of repainting Caucasian dolls to resemble herself and revisits empowering yet complex childhood narratives that shaped her understanding of race and belonging. The title "Give Me Back My Black Dolls", inspired by Léon-Gontran Damas, a foundational poet of the Négritude movement, delves into the absence of Black dolls in childhood spaces and the perception of beauty in early childhood development—both in her upbringing and in contemporary Ghana, West Africa. Zohra also shares her passion for connection and her plans to invite African women artists to utilize her studio space in Ghana, in a residency program while she travels. This initiative reflects innovative ways to sustain and exchange resources within our creative communities. About the Artist Zohra Opoku examines the politics of personal identity formation through historical, cultural, and socio-economic influences, particularly in contemporary Ghana. Opoku's explorations have been mostly through her camera lens; her photography is expressed through screen-printing and alternative photo processing on varieties of natural textile fabrics. Zohra Opoku was born in Altdöbern (former GDR/ East Germany), lives and works in Accra, Ghana and is represented by Mariane Ibrahim Gallery Chicago, Paris and Mexico City.
In this episode, we sit down with the insightful Adora Mba, Founder of ADA Contemporary Art Gallery in Accra, Ghana, as she shares her inspiring journey in the contemporary art world. From her early love of art to her pioneering role as a gallerist, Adora opens up about the driving force behind her mission to discover and nurture artists across Africa. An art advisor, collector, and writer, Adora's experience working in Africa’s creative industry has nurtured her expertise and discerning perspective on the continent’s artistic scene and associated market. As a Nigerian-Ghanaian raised in London, Accra, and Lagos, Adora's formative years were shaped by cultivating a dialogue between her African roots and British education. We dive into the intentions behind her LA show, "The Sound of Our Souls," and how she envisions the global art market evolving and creating more space for emerging women artists. With vulnerability, Adora reflects on the importance of building trust within her team and herself, embracing the unknown, and making room for rest and discovery. She highlights the importance of having a trusted support ecosystem, reminding us that thriving in this industry is not a one-person show.
In this episode we delve into the evolving art scene in Ghana, exploring how it has transformed over the years and examining the importance of representation and the pivotal role of women in this transformation.
What challenges do emerging women artists face today?
We highlight some of the notable emerging talents in Ghana and discuss their significant contributions to the local art landscape. Additionally, we consider what initiatives and strategies can be implemented to further empower women in the contemporary art world and explore the opportunities for these artists to thrive. Adiki, our guest, is a visionary force within the art world. With over a decade of experience spanning Lubbock, New York City, Cape Town, and Accra, she brings a wealth of knowledge in visual art and psychology. As a founding member of Gallery 1957 and a core development team member of dot.ateliers, Adiki continually pushes the boundaries of process optimization and artistic collaboration, driving forward the artistic creative ecosystems across the African continent. Notably, she managed the launch of "Nok by Alára's Pop-up Shop" at the Brooklyn Museum and co-curated the exhibition "Left-Hanging" at dot. Ateliers, showcasing selected works from the Amoako Boafo collection.
