Anthony Amoako-Attah, a Conduit for Culture (Glass Art)

By Joe Samuelson III

Glass Art  • January/February 2022


Along with his academic supervisor Jeffrey Sarmiento, Anthony sought a different path in which he could create a crisp image that was also textured to the touch. Attah remembers the origins ofwhat is now a style unique to him.  "My supervisor Jeff is into screen printing with enamels on glass. I had done screen printing back home on T-shirts, but I didn't know how to do it in glass. With that, we were trying to find means to make glass look like the fabric. "There was one student who was printing with powders. I told myself I was going to try. I went home, created my design, made my own screens, and did the first one. When it came out, o00000h, it was so nice. When people saw the test piece, it was so nice. It was good so nice." Repeating himself, on the other end of the Zoom screen, Attah was smiling like a schoolboy as he remembered opening the kiln that day.

Attah ran several tests of various methods and muses. "I went straight from my culture to the English culture. I was thinking this is a new culture I've put myself within, so I have to blend these two cultures together. I was looking for a fabric that represents the British people. I saw a fabric that is particular to the Scottish people- the tartan fabric-so I made a test piece of that. When it came out, oh man, my supervisor was happy."


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Bullseye Projects will show Amoako-Attah’s work at London’s Collect art fair (25-27 February). “I first saw Anthony’s work online last year – the confluence of kente pattern with Scottish plaid sparked a rainbow-like joy for me,” says Bullseye Projects director Lani McGregor. Michael Endo, curatorial consultant at Bullseye, describes his work as “beautifully crafted, visually stunning, personal, and conceptually complex.”
January 13, 2022