In “Strands & Structures,” Asia Clarke and Christian Saint Spotlight Social and Environmental Issues in Ghana

The idea was to, “explore different social, environmental, and economic challenges that people are facing in Ghana and look at ways to personify them through hairstyles and photography,” recalls Clarke.

In “Transportation,” the title of one of the photos, two models don headpieces made from bicycle tire rims and an eight-foot-long braided synthetic hair and fabric. The intertwined braids reflect complicated transportation issues in Accra and address topics like worsening air pollution, road erosion and safety. Clarke says bicycles are, “the simplest, carbon-free mode of travel [and] offers freedom from some of these issues,” but few bicycle lanes exist in the country. The bicycle wheel caught in entangled braids represents this “complicated reality,” she adds.

“Energy,” another photo in the exhibition, features a headpiece made from electrical circuit wire connected to a prepaid electricity meter highlighting frequent power outages in Ghana, locally referred to as “dumsor" and its effect on citizens, businesses and life. “This unreliability tethers people, arresting development throughout the country; this restriction is symbolized in the one long dreadlock attached to the meter board,” says Clarke.

Saint, who did the photography for the project and has worked with Beats by Dre, Atlantic Records U.K., Rema, Skepta, Davido and Sarkodie, says, “It was intentional for the images to [be in] documentary style because [we wanted it to be] real.”

The artists also worked with writer and researcher Brian Owusu-Konadu to interview individuals who spoke about challenges they face in their communities, including pollution, flooding, and the effects of a bad economy. These conversations, which show how these issues are connected like a braided hairstyle, are featured in an immersive soundscape developed in collaboration with Konadu, producer and sound engineer Eugene “Atown TSB” Okpoti, guitarist Joshua “Moszi” Nkansah, Clarke and Saint.

After about two years of work, “Strands & Structures” debuted at The Mix Gallery in Accra on January 5 to a great turnout and reviews. Initially scheduled to close on January 19, the show was extended to February 2. Part of the activities in the show included a panel discussion, an outreach program for students and hair sculpture workshops featuring community members who work with The Or Foundation, an organization creating awareness about the textile waste crisis in Ghana. Clarke says the intention is to encourage people to take steps and connect with organizations and communities dealing with the effects of these issues.

According to Saint, the audience praised the show for sparking conversations about pressing environmental challenges in the country and the urgent need for action. Saint adds that the audience told them the show provided a “belief that we can pave the way towards a more sustainable future through art and advocacy.”

Members of the diaspora who saw the show in Ghana during the holidays, asked about the possibility of it touring the world, says Saint. After a series of discussions, Clarke and Saint decided to do just that, starting with Toronto (Clarke is a Canadian citizen).

“We thought bringing the show to Toronto would be a good place to tell the story to an audience who would be interested [and want] to learn more about what it is like to have an experience of Ghana,” explains Clarke, who has lived between Accra and Toronto for about eight years. The show will also provide some context about the multifaceted reality of living in Ghana, primarily because of the“Year of Return” and “Beyond The Return” initiatives, which have, in some sense, created an impression of the country as a haven for all.

From June 14 through July 28, “Strands & Structures” will make its North America debut at Unit 270 Gallery in Toronto, which Clarke calls, “one of the most multicultural cities in the world.” Curated by Giles Monette and produced by Hanna Cheng, the exhibition, according to a press release, aims to weave a “powerful narrative that transcends geographical boundaries, exploring themes of air pollution, water pollution, transportation, energy, market economy and construction.”

Behind-the-scenes footage will also be on view, offering insight into the creative process. Other events will be held, such as artist conversations, a panel talk and a hair sculpture seminar.

According to the organizers, the exhibition will also showcase the “beauty and complexity of Afro-Caribbean hair sculpture throughout the diaspora.” The idea draws from the transfer of braiding tradition from Africa to the Americas during the transatlantic slave trade and using cornrows to communicate amongst one another and as escape map routes without the enslavers' knowledge.

“We are extending our legacy using braiding as a visual storytelling tool. The same way that braiding styles and techniques can be intricate is how I approach doing hair — with intention,” shares Clarke, who also has Caribbean roots and started braiding the hair of her relatives at age 12.

“This project is trying to get us to intimately connect ourselves to the external and not see ourselves as separate from [social issues] which is why the hair connects from the scalp to the surroundings,” she adds.

“Strands & Structures” speaks to the “importance [of using] creative power to inspire, impact, and also bring awareness to what is happening in Accra and Ghana,” says Saint. Clarke and Saint hope to continue touring with the show, possibly expanding with another set of shoots, using hair sculpture to explore issues in different parts of the world.