Dr Samuel Owusu Achiaw is a medical doctor and award-winning artist, who travelled from Accra to Glasgow three years ago to further his education.
He talks to AKADi Magazine about how he strikes a balance between his academic and artistic pursuits, and his fascination with hyperrealistic art. He also specialises in portraiture and photorealism.
He also explores themes behind some recent art projects that highlight the impact that environmental damage is having on our water bodies and a new series that explores Akan art and culture in contemporary times.
Samuel's work has been exhibited across the UK and have been shortlisted for several art prizes. He was awarded the Hahnemuhle Fine Art UK Award by the Royal Society of British Artists in 2021, and received a high commendation at the 2023 Trinity Buoy Wharf Drawing Prize.
Where are based in Scotland and what do you do there?
I am currently based in Glasgow. I moved here about three years ago. Before that, I worked in Accra as a junior medical doctor.
I moved here to pursue a Master in Public Health (with Health Economics). and I have been working as a researcher at the University of Glasgow after I completed my degree. (His papers include one entitled: 'The Role of Universal Health Coverage in Secondary Prevention: A Case Study of Ghana’s National Health Insurance and Early-Onset Hypertension').
What are you doing there?
I am working in the University's School of Health and Wellbeing, focusing on health economics and health technology assessment of digital technologies and public health interventions.
How do you balance your medical career with your art career?
I suppose we all learn to make time for things that are important to us. And for me to pursue art alongside my other interests, I realise it is helpful to be flexible and to recognise that progress may be slow sometimes but with perseverance things get done.
In practice, this means there are times when I can only have an hour or so a week to work on my art projects. The key here is to keep moving even if it is only by an inch sometimes.
When did your love of drawing start and what sparked it?
I have always loved drawing as far back as I can remember. I spent most of my childhood drawing cartoons and Disney characters. But as I got into my teenage years, art and drawing started to slip out of my life.
It was in my third year in medical school when I bumped into a friend/colleague from senior high school (with whom I share a first name, interestingly) that my interest in art got reignited.
He loved to draw like I did and had taken up portraiture as a hobby and that encouraged me to reunite with my pencils!
Realism started as a challenge when I started drawing portraits. I was always fascinated by how all the little simple inconspicuous bits—a line, a dot, a smudge—come together to create something intricate and interesting.
When did you transition from drawing for yourself to showcasing your work publicly? What was the trigger?
I started sharing my early portraits on social media. I was not too keen at the beginning but I was encouraged by one of my closest friends, Kwamina Arthur.
This sort of set the ball rolling, I guess. I received much more encouragement from friends (way too many to name!) and family, particularly my sister, who has always encouraged me to keep exploring my passion for art.
*His piece entitled 'Looking', which depicts his sister and is a homage to her unwavering support throughout his artistic journey was longlisted for the Jackson's Art Prize 2024 prize earlier this year.
I am truly grateful to everyone who has encouraged me over the years. Some of my first exhibitions were in Accra in 2016, MESH creative confab, and at TEDx Afariwaa, where I gave a short exposition on my portraits. Most of my exhibitions have, however, been over the past few years after moving to the UK.
What is the appeal towards hyper-realism as your mode of drawing?
Well, realism started as a challenge when I started drawing portraits. I was always fascinated by how all the little simple inconspicuous bits—a line, a dot, a smudge—come together to create something intricate and interesting.
Which artists in Ghana or outside inspire your art style?
For hyperrealist artists, some of my favourites are Kelvin Okafor and the Dutch artist Tjalf Sparnaay.
But I often find inspiration for my art from various sources: music, photography, literature, etc. My current series of artworks, for example, is inspired by Ghanaian culture and history.
Tell us more about this current series of artworks
Ultimately, the larger series will explore various cultures in Ghana. For now, the current 'smaller' series, which will form part of the 'Ghana' series I am working on, will be based on Akan culture and will explore various Akan philosophies, folklore, myths, iconographies and traditional Akan art and their sociocultural dimensions.
The works will also explore the interaction between Akan culture and Western influences and how that has impacted the perception of Akan art and culture in contemporary times. So I currently have two works from the series completed: 'When Akuaba met Madonna' and 'Sankofa; the future lingers in the past'.
On average how long does it take to complete an image?
Ha! I have never been too good at keeping track but smaller drawings may sometimes take around 70 to 100 hours, and much larger works may take up to 200 to 250 hours or more. This, of course, may often spread over weeks or several months.
You've said in a previous interview about a link between the attention to detail required in medicine and your hyperrealistic work (ie drawing pores). Do you think that is one of the triggers that draws you to both types of work?
I suppose so, I think I may be drawn to detailed work with some level of complexity. I am not particularly sure why. I guess I find some value and beauty in detail. I wonder if this is always good though. Sometimes simplicity is best.
Tell us about the inspiration behind your shortlisted piece 'F̶r̶u̶i̶t̶s̶ Mort de la Mer No. 1' and what made you choose it for submission for the Derwent Art Prize 2024?
So, the tile of the work is 'F̶r̶u̶i̶t̶s̶ Mort de la Mer No. 1' with 'Fruits' crossed out. This is the first in a series of artworks. The title of the series is a wordplay on the French phrase for seafood, 'Fruits de Mer'.
So 'Fruits' here is replaced with 'Mort' (death). The series comments on sea pollution and how marine organisms interact with these pollutants and also touches on other kinds of environmental degradation and climate change.
The series highlights how our seas have become less 'fruitful' and more 'deathly'.
What was the best or most challenging part about creating this piece?
The answer to both is the same actually; the details!
You’ve said in a previous interview (People Who Inspire) that you like classical music a little more than drawing. What is it that draws you to classical music a little more and which composers do you admire?
I am fascinated by all the different textures, colours, and emotions the music presents, particularly the large symphonic pieces. And the profound touching beauty of a Puccini aria, for example.
It is difficult to single out composers but some of my absolute favourite pieces are Beethoven’s Piano Concerto No. 5 and his Violin Concerto—superlative!
And lastly, what area in Scotland would you recommend visiting to a tourist visiting there for the first time?
Somewhat cliché but I would definitely say the Highlands - absolutely magical!
*All images are credited to Samuel Owusu Achiaw.
Want to know more?
Click here to read about more stories from Ghanaians abroad.
And if you are a Ghanaian living in the diaspora or know someone who is, fill in our mini questionnaire and you could be featured in our next post.
Comments