In a vibrant display of creativity and cultural heritage, hand-painted film posters have made a stunning resurgence in Ghana, showcasing a unique blend of artistry and storytelling. This revival, centred at the Deadly Prey Gallery, highlights the talent of local artists who reinterpret cinematic narratives, often in whimsical and exaggerated ways. As demand grows among international film aficionados, these artworks are not just preserving a rich tradition but also redefining Ghana’s place in the global art scene.
The Craft of Exaggeration
On the sunlit porch of his home in Teshie, near Accra, artist Jeaurs Affutu, better known as Heavy J, meticulously applies red oil paint to a flour sack canvas. His current project—a poster for Disney’s animated classic, *The Little Mermaid*—features an unexpectedly sinister twist: a knife-wielding prince and an ominous skull. “We embellish to draw interest,” Heavy J explains, embodying the creative spirit of Ghana’s hand-painted poster tradition, which flourished from the late 1970s to the early 2000s.
Historically, these posters were crucial marketing tools for local video clubs, which found that original promotional material failed to attract audiences. Artists turned plotlines into imaginative interpretations, competing to create the most eye-catching “forgeries”. However, as access to television and home video systems increased, the demand for these hand-painted works began to decline, leading many artists to pivot to different forms of expression.
A Revival Through Global Interest
Despite a lull in the early 21st century, interest in Ghanaian film posters has reignited, largely due to the rise of online platforms and a growing appreciation among Western collectors. Deadly Prey Gallery, established in 2012 by Robert Kofi and Brian Chankin, plays a pivotal role in this renaissance. Kofi, who once worked as a “hype man” for video centres, now connects local artists to a global market, facilitating the shipping of their vibrant creations.
The gallery collaborates with 15 artists, including Heavy J, to produce a variety of artworks that appeal particularly to collectors of classic action, horror, and science fiction films. Kofi notes that commissions often stem from the United States, with iconic titles like *The Exorcist*, *Star Wars*, and *Terminator* commanding the highest prices, starting at $600 (£450) per piece.
The Artistic Process: Imagination and Feedback
In a bustling studio in Ashaiman, another prominent artist, Benjamin Amartey, known as Stoger, is immersed in his work, creating posters for films such as *Poltergeist* and the experimental drama *Gummo*. During a recent session, Kofi provided Stoger with feedback, suggesting that the cats in his artwork should appear more aggressive and that the spaghetti should look messier. “I want uglier cat scenes,” Kofi insisted, illustrating the collaborative nature of this artistic process.
Stoger, who transitioned from sculpture to painting in 1992, captures the essence of this craft by blending imagination with vibrant visuals. “I create scenes that will captivate viewers, ensuring they fall in love with the poster,” he remarked, underscoring the importance of storytelling in this unique art form.
A Cultural Commentary
Joseph Oduro-Frimpong, director of the Centre of African Popular Culture, expresses that the exaggerated style of these posters is rooted in the African tradition of “visualising the invisible.” Given that many in the audience have yet to see the films, artists have the liberty to craft sensational depictions, often incorporating elements that don’t appear in the original narratives. This approach, while sometimes leading to misunderstandings and even confrontations from viewers expecting fidelity to the source material, reflects the playful and imaginative spirit of the artists.
Kofi recalls an amusing yet sobering incident from the 1990s when he faced physical backlash after audiences discovered that *Double Impact* lacked a scene portrayed on his poster. Such stories highlight the tensions that can arise between artistic interpretation and audience expectations—a testament to the cultural significance of these artworks.
Celebrating a Cultural Heritage
At the Centre for National Culture in Accra, a vibrant exhibition of posters from Deadly Prey Gallery adorns the walls, featuring striking images that blend fantasy and reality. Works depict everything from Jennifer Lopez shooting an arrow at a giant snake in *Anaconda* to a mouse emerging from Jamie Lee Curtis’ mouth in *Halloween*.
“We are preserving a tradition,” Kofi asserts, reflecting on the importance of the poster-painting craft. “We are preserving a history.” These hand-painted posters are not just art; they are historical documents that tell the story of Ghana’s film culture, marrying local narratives with global cinematic trends.
Why it Matters
The revival of hand-painted film posters in Ghana signifies more than just a resurgence of artistic tradition; it represents a cultural renaissance that bridges local creativity with global appreciation. As these artists gain recognition and their works find homes in collections worldwide, they are not only preserving a unique aspect of Ghanaian heritage but also challenging the narratives surrounding African art. This movement fosters a deeper understanding of the continent’s cultural richness and creativity, positioning Ghana as a vibrant player on the international art stage.