JOHN HEINTZMAN
New American Painting, a national survey of outstanding contemporary artists throughout the United States, has announced its selection of those painters representing Contemporary Art in 2024. Included in this exclusive class is central Illinois artist KNyame Maison (Nana Ekow), an adjunct faculty member at Bradley University, an artist member/instructor at the Peoria Art Guild, and Gallery and Community Outreach Director for First United Methodist Church in Peoria.
KNyame’s work is refreshingly strong, distinctive, and an incredible weaving of color. His work shares the cumulative effects of his West African homeland, Ghana. Each work serves as an example of dedication to his formidable sense of order, containment and strength.
At first glance, the artwork of Maison is incredibly detailed — recalling a pictographic symbol system referring to his rich Ghana heritage and language. Similar to pre-Columbian art and simple geometric-abstraction, Knyame’s paintings are multi-layered with various principal shapes — particularly spidery silhouetted human figures interacting with symbols — all anchored within a neatly defined pictorial space. These passages are elegant as stained glass and expressed in an obsessive urge similar to pointillism.
As one looks at the works of KNyame Maison, there is an obvious quiet inside each with a guiding voice to discover more about his culture and his life. His paintings occupy space outside the mainstream art establishment — and many claim to move one’s spirit into introspection of our own society today.
400 Years of History’ by KNyame Maison is an explicity and overwhelming statement on slavery.
KNyame Maison reviews world history and cultures from Biblical times to modern Ghana to African American history. His monumental painting, “400 Years of History” is an explicit and overwhelming statement of slavery in America. It allows us to examine our own lives and consciences through art.
Featured in the catalogue are paintings that present a survey of Maison’s work over several years. All of these works reference his investment in time and remembering his ancestors, his own introspection and projecting his view of life.
‘Edges of Consciousness’ by KNyame Maison.
In “Edges of Consciousness” the artist leans on those who surround him. A profile of a student is superimposed over one of his wife, Barbara. Both represent not only the specific, but also the common person in society. Intertwined among numerous symbols, are vines with leaves on them. Suggesting healing through nature, his iconographic images, give a deeper meaning to one’s existence dependent upon the world we live in.
‘Ancestors of Ancient Places I’ by KNyame Maison.
“Ancestors of Ancient Places I” depicts two figures facing each other. Both are individuals, maybe somewhat independent, but never alone. Those from Ghana recognize their lengthy lineage that binds them together — even if solitary, they are forever linked and reliant on their forefathers and ancestors centuries ago.
Dragonflies are from a small order of the species Odonata and hold a prominent symbolic place in art. “Odonata” depicts a hovering dragonfly over a life circle of figures conjoined in dancing. As the dragonfly identifies as change in perspective of self-realization, and joy and happiness, so does the human need for good fortune through prosperity. Though some cultures associate the dragonfly with death, KNyame directs our attention to renewal and life that is beyond.
As a naturalized citizen of the United States, Knyame Maison has been a testament to the diversity of Contemporary Art. As a creative, he engages the viewer to reflect and enjoy the colorful lives honoring others.