To most Ghanaians, the name Ibrahim Mahama most likely pertains to the wealthy businessman and philanthropist, brother of the sitting president. To the rest of the world, particularly in the fine art realm, the same name refers to the contemporary artist, sculptor and educator known for his large-scale art installations and architectural interventions. Both born in Tamale 16 years apart, giving the name a dual identity that bridges politics, commerce and culture; each commanding influence in their respective spheres. 

Mahama, the artist is the founder of the Savannah Centre for Contemporary Art (SCCA), Nkrumah Volini and Red Clay Studios located in Tamale. Institutions through which he has built an ecosystem for art education, research and community engagement in Northern Ghana. He first rose to fame with his iconic large-scale drapery made from repurposed cocoa jute sacks patched together. This simple material became an important symbol in his practice, but also as a marker of global trade, migration and the invisible labour embedded in global commodities. The sheer scale of his work is a commentary on the human and physical infrastructure that keeps these economies running. 

His 2015 installation ‘’Out of Bounds’’ made for the 56th Venice Biennale draped over the Arsenale in Venice, was a symbolic act of confrontation between imperialism and marginalised labour. Adorning a building which was once an engine of imperial power, hosting up to 2,000 shipbuilders and enabling the expansion of Venice’s maritime influence. This installation marked a turning point, a coming of age for the artist. Over the ensuing decade between then and now, a remarkable momentum has shifted the global art conversation placing him right at the heart. He returned again to Venice in 2019 as part of the Ghana Freedom Pavillion designed by Sir David Adjaye where his work was displayed alongside stalwarts like El Anatsui, Felicia Abban, Lynette Yiadom-Boakye, John Akomfrah and Selasi Awusi Sosu. 

According to Ibrahim, it all started with his first installation at Mallam Atta market in Accra in 2012. Since then, Mahama has enveloped monumental buildings the world over with his signature. Buildings such as the Barbican Centre in London, Porta Venezia in Italy, Oude Kerk in Amsterdam, Rockefeller Centre in New York, among many others. What is remarkable about the evolution of Ibrahim Mahama as an artist is how his rise directly influences the rise of his immediate community. Not only through the labour-intensive work of institution building, but through education, mentorship and increased visibility. Earlier in October, he was one of many Ghanaian artists representing Ghana at Frieze London with a solo exhibition marking the official opening of Ibraaz London on 93 Mortimer Street, London. 2025 has been a particularly busy year for the artist. Featuring in exhibitions in Thailand, India, Austria, Netherlands, UAE, Poland, North Macedonia and Colombia, to name a few.

Image courtesy of Edwin Otta

It would be remiss to discount the influence of KNUST’s Art Faculty on Ibrahim’s practice and on the wider Ghanaian art ecosystem. Ironically, it was originally viewed as a science and research university renowned for producing technologists, scientists and researchers. Although from its foundation, the art department was one of the oldest at the University and arguably one of the oldest dedicated university art departments on the continent of Africa. Today it remains Ghana’s foremost incubator, producing the world’s most innovative artists. With the most celebrated being the legendary El Anatsui who graduated in 1968. Other well-known alumni include Kwame Akoto Bamfo Kelvin Haizel, Alhassan Issah, Bright Ackwerh, Robin Riskin, Jonathan Okoronkwo among many others. The only other comparable institution in Ghana is the now-defunct Ghanatta College of Art (a story for another day).

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As a prominent member of the Blaxtarlines movement, Ibrahim’s rise has had a knock-on effect on an entire contemporary art movement. The movement itself was spawned out of the KNUST Painting & Sculpture department. Although formally established in 2015, it’s roots go deeper. A regular fixture on Ghana’s art calendar is the annual end of year exhibition for the graduating class. It acts as a sort of ‘outdooring ceremony‘ presenting the future of Ghana’s contemporary art scene.

The godfather of the movement and mentor to many of the artists is Prof Kąrî’kạchä Seid’ou who sewed the seeds of radical, pedagogical and community-engaged experimental practices. The critical engagement between Blaxtarlines, the department and the wider art community provides a loose network within which artists, curators and researchers can exchange ideas, access resources, and develop interdisciplinary practices. The Blaxtarlines movement has successfully cemented the reputation of the department for producing not only skilful artists but artists that are critically aware of the cultural, political and social contexts in which they operate. It is therefore no surprise that Ibrahim has emerged as their champion and brought with him an entire movement.

As they say, when the water rises, all the boats rise.

Even the Government of Ghana is taking notice of Ibrahim’s work as he was recently named one of the five (5) Ghanaians in the arts, media and culture to be given the special privilege of being honoured with diplomatic passports. The announcement was made in September by the Minister for Foreign Affairs, Okudzeto Ablakwa at the launch of the Diaspora Summit to be held later this month in Accra. Alongside him were; Wodemaya, Rocky Dawuni, Anita Erskine, and Dentaa. According to the Ministry, the move is to ”recognise the efforts made by these individuals to promote the image of Ghana and to urge them to continue to uphold the good name of the country”

Image courtesy of Ministry of Foreign Affairs

International recognitions are also pouring in for Ibrahim Mahama. He was recently unveiled as the Number 1 most influential artist of 2025 by ArtReview in its Power 100 list. The annual ranking identifies the 100 most influential artists or groups in the global contemporary art world. Over the years, his ranking has risen from 63 (2021), to 47 (2022), to 6 (2023) and 14 in 2024 and finally to the Number 1 spot. Unsurprisingly, Blaxtarlines has seen a similar meteoric rise in recognition in the list, going from 98 (2022), to 84 (2023), then to 81 in 2024 and finally to 69 in 2025.

After being shortlisted as a finalist of the first-ever Art Basel awards, in June 2025, in the category of Established Artist, Ibrahim Mahama was announced on 4th December 2025, as a Gold Awardee during Art Basel Miami Beach. According to Art Basel, ”the artist’s studio isn’t just a place for production but a space for collective reflection about the conditions of the body across time; the artist’s studio can be a space of miracles”

Both of these accolades stressed his work as an institution builder, highlighting his role in fostering collaborative networks, nurturing local talent and developing platforms that expand the reach and influence of contemporary African art. This recognition carries with it profound significance both for his career as an artist and for the wider artistic movement which he spearheads. Going beyond personal acclaim, this recognition will amplify the work of SCCA and associate institutions, reinforcing the inextricably linked growth of his practice and the appreciation of this particular brand of experimental and innovative art practice. Additionally, this recognition will help to strengthen ties between the Ghanaian art ecosystem and international cultural arts institutions, fostering greater collaboration, exchange and visibility for local artists on the global stage.

It has been without a doubt an exceptional year for Ghana’s art scene and for the wider creative economy. 2026 promises to be an even more impactful and exciting year.