Henry Appiah

Henry Appiah HENRY APPIAH IS A SELF THOUGHT ARTIST.WHO IS MUCH INTO ABSTRACT ART "I was born in Ghana on Wednesday, June 29, 1972. I completed in 1994.

Henry Appiah
Henry Appiah is widely known by his artist name, 'Asenior.' He relates his story here. After secondary school, I enrolled in a prestigious college of art and design to pursue a diploma in painting. I am now a freelance artist and lecture at two university art schools. "As a child I was aware of the talent I had in me. I desired to draw always and I enjoyed it. I derived satisfaction f

rom this hobby. I was reading the sciences in secondary school but then I decided on reading art as a subject, which is the exception rather than the rule. I loved art better than the other subjects. I then decided to concentrate on what I loved and enjoyed. "I started selling art on a commercial basis in 1993, my second year in art college. I had my first exhibition in 1993 and the response was good so I continue to exhibit my work in galleries. I have been painting for seven years. I've had three solo exhibitions, in 1994, 1995 and 1996, and four group exhibitions. "The buyers of my work are mainly African-Americans, Europeans and Americans. Ghanaians don't patronize art much. The single largest commissioned work I have done was for a Ghanaian firm: The Global Hotel in Abelemkpe, a suburb of Accra. "I have different techniques I have developed over time. I have the brush spiral technique, the palette spiral technique, and the fabric stamping technique, as well as others. I developed the spiral technique through the relation between the earth which is a spiral and the focus of attention I give to the main figure in the themes I translate onto the canvas. This figure becomes the center of the attraction in my world which at that material moment is the canvas. These technique are intuitive; thus these techniques are original and are true to me because it is something I have created – these forms are inborn. These techniques have evolved from within me as a result of my quest to "stand out of the crowd." I use different textures to come out with different effects that add character and identity to my works. "The themes of my paintings are derived from my subconscious with a strong relation to my natural environment. Sometimes the urge to create comes out strong; the translation that my canvas bears is bold and extraordinary. Although I sometimes use themes that are derived from my natural environment, the figures I use turn out to be abstract in every form. This action evolves from the action that takes place in my subconscious. I love painting figures and market women. I use oil, acrylic and watercolor. In some works I use acrylics, this is because the effect pursued is achieved. This is the same with oil. "I have been influenced by some of the excellent artists in Ghana. Wiz Kudowor, whose use of creativity in his figures as well as his sense of ecstatic beauty, inspires me. Kofi Setordji's works have inspired me in that his abstract expressionism urges me on to develop my style. Nii Mills is also an artist whose works have inspired me; every brush stroke in his work serves a purpose. The strokes are placed with care and intelligence, thus having an active involvement in the work."

*Title:* *Core of the Storm**Inspiration:*  This piece seems inspired by the tension between inner turbulence and outer ...
14/08/2025

*Title:* *Core of the Storm*

*Inspiration:*
This piece seems inspired by the tension between inner turbulence and outer perception. It reflects how individuals navigate overwhelming emotions, pressure, or transformation while being watched or judged by society. The use of blue suggests introspection and emotional depth, while the spirals pull the viewer into a psychological or spiritual center.

*Description:*
*Core of the Storm* captures a figure at the heart of a swirling maelstrom of energy. Radiating with cool blues and sharp contrasts, the painting evokes a sense of motion, fragmentation, and intensity. The vortex at the center symbolizes inner conflict or growth, while the abstracted surroundings reflect the chaos of the external world. The tension between control and surrender makes this artwork both personal and universal.

*Title:* *"The March of Memory"**Inspiration:*  This piece draws from the rhythm of collective movement—echoes of tradit...
14/08/2025

*Title:* *"The March of Memory"*

*Inspiration:*
This piece draws from the rhythm of collective movement—echoes of tradition, migration, and identity layered like woven fabric. Inspired by ancestral footprints and the interconnectedness of human journeys, the painting blends time, space, and color to form a visual chant of unity.

*Description:*
A rich mosaic of color and pattern, *"The March of Memory"* depicts abstracted figures advancing in synchrony, enveloped in a tapestry of dotted textures and vibrant hues. The repetition and layering suggest motion, history, and togetherness. Bold reds, electric blues, earthy ochres, and crisp whites ripple across the canvas like soundwaves or woven kente, invoking heritage and strength in numbers. The piece invites viewers to pause and interpret the story within the march—each step a beat, each form a memory.

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09/08/2025
*Title:* *Warriors**Inspiration:*  This painting draws inspiration from the raw energy, unity, and courage of traditiona...
09/08/2025

*Title:* *Warriors*

*Inspiration:*
This painting draws inspiration from the raw energy, unity, and courage of traditional horse-mounted warriors—likely referencing nomadic or desert cultures. It celebrates not just battle, but movement, tradition, and the unbreakable spirit of those who ride together toward a shared purpose.

*Description:*
*Warriors* is a dynamic explosion of color and motion, capturing a powerful cavalry charge. The abstract forms of riders and horses blur into one another, emphasizing their unity and momentum. Bold strokes of red, orange, blue, and white create a visual rhythm, suggesting dust, speed, and intensity. The faceless figures—wrapped in headscarves—feel timeless, representing warriors across history and cultures. The layering and repetition evoke both chaos and harmony, as if the viewer is witnessing a moment suspended between action and myth. This painting is not just about war—it’s about strength, legacy, and the rhythm of a people who ride as one.

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