Mahama’s Fracture (2016), is a monumental tapestry constructed from coal jute sacks, hand-sewn into an expansive installation that transformed the interior of the Tel Aviv Museum of Art in 2017. This work, with dimensions variable, transcends conventional boundaries of sculpture and installation art, engaging with themes of materiality, memory and global interactivity.
Marill and Hunges (2022), underscore how Mahama’s use of discarded remains of everyday materials invites contemporary audiences, to reflect on the histories embedded within them, including their roles in migration, labour and global trade. The jute sacks, integral to Ghanian markets and Mahama’s own heritage, originate in Southeast Asia, where they are manufactured and shipped to Ghana for cocoa bean transport. Over time, these sacks are repurposed for carrying household goods or charcoal, their surfaces accumulating dirt, stamps and wear. These traces as Marill and Hunges (2022) note, serve as testament to the global networks of trade and human labour.
In Fracture (2016), the hand-sewn jute sacks embody these multidimensional and layered histories, symbolising the interconnected lives and experiences they have encountered. The texture of the sacks, reminiscent of human skin, evokes human connections stitched together into a vast, cohesive whole. By incorporating visible marks of labour and trade, the work elevates these utilitarian objects into a narrative about resilience, migration and the lives of overlooked individuals. The rough stitching can be interpreted as weaving together the voices of marginalised groups whose contributions to global commerce often go unrecognised.
Created amidst ongoing issue of racial stereotyping, exploitation of natural and human resources, and hostility toward migration, Fracture (2016), challenges viewers to reconsider the value of discarded materials and the lives they represent. The repurposed jute sacks critique extractive production cycles, advocating for an appreciation of the multiple lives materials – and people- can have. The work’s materiality, installation in space, and scale emphasise the entwine, multidimensional nature of individual narratives within global socio-economic and political frameworks, inspiriting audiences to question traditional notions of authenticity and value.
Additionally, the work demonstrates what Barett (2020), describes as ‘material literacy’ using ordinary objects to hint at layered meanings of history. The coal jute sacks with their rich histories, offer a compelling narrative that resonates with contemporary issues such as migration, global trade and environmental sustainability.
For me, Mahama’s work connects with my research into working with remnants, - whether physical material remains or cultural heritage – to explore hybrid identities and transformative interactions. Fracture (2016) raises enduring questions about how interactions, both gentle and brutal, shape identities and leave lasting marks. It invites contemplation of how materials and identities hold or resist the memory of these exchanges. Mahama’s practice, to me at least, teaches that deeply engaging with materials fosters connections and conversations that ultimately can transcend fear of the unfamiliar, offering transformative perspectives for both artist and audience alike.
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