My artistic practice is informed by my position as a Ghanaian currently living in the US. I grew up having two mothers and out of my family home, I am known as an Akan, which is the ethnic group to which I belong. When I am located outside Ghana and in another African country, I am known as a Ghanaian. When placed outside Africa, in the United States which is my first foreign country I have visited, I am known as an African. This is how my identity connects to space and place being it local or foreign.

My work encompass the architectural, geographical, cultural, and social spaces encountered as people of the diaspora. Intrinsic to my work is the love of materials which are utilized to create complex visual and tactile layers as well as layered associations and meanings. I use clay to communicate my challenges of occupying these two worlds as form and shroud them in bright-colored African batik fabric, yarn and familiar materials found in my daily life to reflect my identity. Batik fabric is originally manufactured in Indonesia and have them printed in Africa of which the yarns originally come from China. Its complex material history symbolizes cultural hybridity.

I explore techniques revolving around the deconstruction of the standard of dependence on glazes as the sole ceramic finishing technique. As is the case in much of traditional African art, I disregard Western aesthetic expectations, but the work instead being concept driven. I characterized a visual scenery, commanding the experience and engagement of the viewer in my work and explore the complexities of double consciousness in my hybrid identity as way of addressing beauty, culture and migration.