Japheth Asiedu-Kwarteng ( he/him/his )

Dining with Mama and Dada series draws from “Abusua Kuruwa” - the Asante family pot that preserves hair, nails, and other belongings of relatives of the departed. Traditionally kept in royal stool house, shrine, or cemetery, it holds presence beyond absence. This body of work embodies memory, food, labor, architecture, and belonging. It asks how we remember - how we hold the ones who are gone, and what remains when touch becomes memory. At its core, my research delves into the concept of space - both physical and metaphysical - as a lens for exploring transitions through memories, borders, identities, and emotional terrains. My work functions as a monumental visual diary, chronicling experiences of navigating spaces that evoke a spectrum of emotions: loss, belonging, acceptance, isolation, and nostalgia. This diary embodies the universal human experience of crossing thresholds—whether geographic, cultural, or personal—and reflects my commitment to creating art that resonates across different contexts. Through my practice, I seek to address profound questions. For instance, • How do the spaces we traverse shape our perceptions of identity (not as black or white, African or western, but as the self), belonging, and existence? • In what ways do transitions impact on our mental and psychological well-being? • How can art serve as a catalyst for community engagement, fostering social cohesion across diverse contexts? These inquiries are not merely theoretical, they are deeply personal. My body of work reflects the transformative journey of, for instance, parenthood, examining how this space of nurturing has reshaped my understanding of care, identity, and legacy. I aim to spark dialogue around the universality of human experience while celebrating the specificity of cultural heritage. My work transcends traditional definitions of ceramics, incorporating innovative techniques and interdisciplinary approaches to amplify its relevance within the contemporary art landscape. By blending monumental forms, evocative symbolism, and rich cultural narratives, I contribute to a global discourse on the self, resilience, and the ways in which art can be a bridge to foster understanding across borders. As an artist-scholar, I am committed to pushing the boundaries of ceramic art, championing its role in contemporary art, and fostering a deeper appreciation of cultural intersections. My work stands as a testament to the enduring power of art to connect, challenge, and inspire.

Japheth Asiedu-Kwarteng is an artist and educator based in Edinburg, Texas, where he leads the ceramics program at the University of Texas Rio Grande Valley, Edinburg campus. He holds an MFA in Ceramics from Illinois State University, USA, and a B.A. in Industrial Art (Ceramics) from Kwame Nkrumah University of Science and Technology (KNUST), Ghana.

Japheth has exhibited widely both locally and internationally in esteemed institutions such as the Art Museum of Southeast Texas (Beaumont, Texas), Utah Museum of Contemporary Art (Salt Lake City, Utah), Crocker Art Museum (Sacramento, California), University Galleries (Normal, Illinois), and DAAP Galleries (Cincinnati, Ohio). His works are part of the permanent collection at University Galleries and in private collections across the United States.

His artistic practice honors the legacy of Ghanaian ceramic history and its contemporary presence, drawing on complex cultural symbols with a spirit of openness and innovation.

Japheth is an elected member of the International Academy of Ceramics and former Fellowship Coordinator on the Artaxis Board. He also contributed to NCECA through its Collaboration and Engagement Committee, reflecting his active role in shaping the future of ceramics through education, advocacy, and community.

He graduated as Valedictorian from the Wonsook Kim College of Fine Arts at Illinois State University.