article · African Identities
An investigation into contemporary ceramic art in Takoradi, Ghana, reveals how everyday objects and object-oriented philosophies influence the creative process. Drawing on qualitative interviews and observations of six ceramic practitioners who employ basic objects as moulds and design sources, the work identifies three central dimensions: material dialogue, distributed agency, and ontological expansion. These elements demonstrate how makers engage reciprocally with their clay and tools, allowing designs to evolve organically while acknowledging the active agency of physical materials. Beyond aesthetic development, adopting these philosophies enhances creative practice, supports inclusive learning, and stimulates sustainable innovation through improved material efficiency. Integrating emergent forms offers a practical pathway to safeguard traditional ceramic heritage while adopting environmentally responsible techniques, presenting opportunities to test similar sustainable material methods across other African cultural settings.
Craft traditions often face challenges reconciling cultural preservation with modern sustainability. Demonstrating how everyday objects can serve as functional moulds and creative partners highlights accessible, resource-efficient methods for local artisans. This approach fosters sustainable innovation and material efficiency in craft production, showing that engaging thoughtfully with existing physical materials can preserve heritage without requiring costly or environmentally damaging manufacturing inputs.
The findings describe early-stage, studio-level creative practices rather than an industrial process. The identified methods could inform sustainable craft production, artisan workshops, and design education curricula seeking to improve material efficiency and reduce waste by repurposing everyday objects as moulds. Commercial application remains at an exploratory, craft-based level, with potential relevance for creative enterprises and sustainable design practitioners aiming to lower tooling costs in ceramic manufacturing.
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This research explores how emergent forms, comprising object-oriented designs and philosophies, influence the creation of contemporary ceramic art among some Ghanaian artists. Using qualitative phenomenological methods, including interviews and observations, the study examines the creative processes of six ceramic artists from Takoradi, Ghana, who use basic objects as moulds and sources of inspiration for their artworks. The research identifies three key dimensions of emergent forms, namely material dialogue, distributed agency, and ontological expansion. These dimensions highlight how ceramic artists engage with materials in a reciprocal manner, enabling organic and adaptive design evolution, recognising the agency of materials and tools, and expanding their understanding of materiality beyond human perception. The findings suggest that object-oriented philosophies not only enhance artistic creativity and aesthetics but also promote inclusive learning and sustainable innovation. The study recommends integrating emergent forms to preserve ceramic design heritage while fostering sustainable practices and material efficiency. Future research could explore the application of these philosophies across different African cultural contexts, using other sustainable materials to create ceramic art.
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DOI: 10.1080/14725843.2026.2724910
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