Key facts
- Hand-painted film posters from Ghana, created from the late 1970s to early 2000s, are now collectible art.
- Artists like Heavy J and Stoger create exaggerated and imaginative interpretations of film plots.
- Deadly Prey Gallery, co-founded in 2012, works with artists to preserve this tradition and meet global demand.
- Commissioned posters start at $600, with most orders originating from the US.
- The tradition began as a way to attract audiences to neighborhood video clubs when original posters were insufficient.
Hand-painted film posters, a distinctive art form from Ghana's late 1970s to early 2000s video club era, are experiencing a resurgence as collectible items. Artists like Jeaurs Affutu, known as Heavy J, and Benjamin Amartey, known as Stoger, create vibrant, exaggerated interpretations of movie plots, often adding sensational elements to attract viewers. This practice, initially a local marketing strategy, has gained international acclaim and demand.
These posters were created on materials like flour sacks using oil paints, with artists competing to produce the most eye-catching 'forgeries' of original movie art. The tradition began to decline around the turn of the century as access to electricity and personal entertainment systems grew, leading to the closure of many video clubs. However, the unique artistic style caught the attention of international collectors and curators, leading to exhibitions and publications that fueled a new appreciation for the works.
Deadly Prey Gallery, co-founded in 2012 by Ghanaian Robert Kofi and American Brian Chankin, aims to preserve this cultural heritage. The gallery collaborates with around 15 artists, including Heavy J, connecting them with a global customer base, primarily in the US. Prices for commissioned pieces start at $600. Kofi acts as a manager and editor, guiding artists to capture the essence of the exaggerated style, sometimes requesting more dramatic or 'uglier' depictions to enhance audience appeal.
Joseph Oduro-Frimpong, director of the Centre of African Popular Culture at Ashesi University, notes that this "visualising the invisible" is rooted in an African tradition of imaginative painting, where artists tap into their creativity to make scenes that attract viewers, even if they deviate from the actual film content. This sensationalism, while popular, sometimes led to negative reactions from audiences who felt misled, as recalled by Kofi with an anecdote about a Jean-Claude Van Damme film.