Critical critique of an acrylic and mixed media painting by Nana Frema exploring the artist techniques, her motivation for the creative work and examining her message of knowing thyself in a social media era of complex identifies and keeping up appearances. The painting posits black women on such a pedal of self-love and resilience. The painting plays on distorting the human anatomy by placing the hand as the head in a harmonious way.

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
Title
“MyTrue Self – Queen”, an acrylic painting
Abstract
Critical critique of an acrylic and mixed media painting by Nana Frema Amoabeng exploring the
artist techniques, her motivation for the creative work and examining her message of knowing
thyself in a social media era of complex identifies and keeping up appearances. The painting posits
black women on such a pedal of self-love and resilience.The painting plays on distorting the
human anatomy by placing the hand as the head in a harmonious way.
Year
2023
Author
By Sabina Sarsah
Journalist/ Art Reviewer
Ohui Arts Reviews
https://www.ohuireviews.art/

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
Figure 1Title: My True Self -Queen. Meduim: acrylic on canvas, paper, mirror, jewellery, gold leaf. Size: 86x79inch. Year:2022.
Ar st: Nana Frema Amoabeng. Contact:whyafrica@gmail.com

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
Description
One eye-catchy piece about Nana Frema's "MyTrue Self- Queen" is the bold background color
which draws you in immediately.The solid background offers some consistency as the eye travels
through the painting to the bottom part of the artwork which complements the dark shades seen
from the underarm of the lady sitting on the high metal stool in the middle. It also compliments the
ladies at both ends of the artwork, all the way through to the thighs.The artwork has an even light
distribution, with no definite light source, which makes the painting transparent and upfront to the
viewer.
Precise and intended lines can be seen from the neck to the base chin of the first woman from the
left and from the underarm of the lady sitting on the high stool in the center. One cannot ignore
the thin vertical line extending from the tip of the head-nail to the pearl-like flower.The finger
bearing the flower is two intertwined into one. Also, the second woman from the right has a
slanted vertical line on her neck to the tip of her head. Lastly the curved line formed at the base of
the chair to the leg of the ladies setting on both sides of the art piece. Both sharp and dull lines
contour the arms of the women.
The scarf, which falls graciously on the thigh of the first lady on the right has a feather-like fluffy
feel, and the polished stools feel smooth with an implied coarse edge to them.Although the skin
tone of the ladies looks smooth, the gold leaves on it which look like a skin disorder introduce
unevenness.
The artist used geometric shapes which can be seen in the circular design of the necklaces of the
ladies on the left and the second lady on the right respectively.There is a heart shape formed by
the joining of the necks of the first lady on the right.There are multiple triangular shapes at
different locations in the artwork.The space formed by the second lady from your right head
leaning on the shoulder of the lady sitting in the middle, and the crossing of her hand on her laps,
the space formed by the stool and the dress of the first lady from the right.There is also a reverse
water drop formed by the joining of the necks of the second lady on the right.The second lady
from the left bears a flower extension on her hand and a white reverse cone on her neck. Not
forgetting the large v shape formed from the legs to the base of the chair by the first lady sitting on
the left and the curved line on her but sitting on the stool of the first lady from the right.
The artist's colour spread is very experimental and exploratory of unconventional colours that
indicate a sense of high-risk endeavour. For instance, the use of the turquoise hue in the
background has both the quality to repel and absorb attention.This quality is regulated by the
interplay of the art piece with its environment. Also, the colours have a very limited range of values,
resulting in very intense and strong colours.
The painting appears well balanced from the coordination of the subjects’ body structure.The
colors, and the elements perm well together, comfortably highlighting the harmony therein.The

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
stool the group of women are sitting on is rendered in a wooden finish, appearing like a timber and
a metal stand stool for the center subject with the two other women confidently standing.The art
piece reveals a complex blend of analogous colors of turquoise and lime, and split complementary
colors of maroon, orange, red, and ruby.
Space distribution in the artwork is very economical and organized in a way that directs attention
to the portraiture of the women.Through careful space economics, there is a sense of space
generosity and freedom despite the tight sitting.There is the feeling that the women are sitting
very close together out of choice rather than lack of space.Their hands on each other tell of
abundance and freedom.There are no distractions thus eye travel is very controlled and naturally
follows basic object movement apart from the little upward pull from the hand extension with the
flower. Unity and harmony achieved yield attention to the main subject of the artwork.
The artwork is a 2D dimensional work but gives off 3D features from the dress neckline of the lady
wearing lime hue just above the lady sitting on the left.This is because of the mixed media
approach of the artist.The painting by Nana Frema Amoabeng titled, “MyTrue Self - Queen” was
part of her first solo exhibition titled Hand Statement at the Goethe InstituteAccra in 2022. Frema
employed mediums such as acrylics on canvas, paper, mirror, jewelry, and gold leaf to produce the
work with a dimension of 86 by 79 inches.The three-month exhibition prominently featured “My
True Self -Queen” among other works.
Analysis
Considering that the painting has a vivid background of turquoise which goes well with the limited
value of red colours of the subject dresses, the viewer is compels to pay close attention. There is an
aura about the artwork that is very settling.The solid hue of the background of the painting has a
subtle effect that calms the art admirer with an asymmetrical touch from the wooden stool
working perfectly into one. Contrast is the basis of clarity, and the artist’s style works well in this
painting.This is the kind of painting that compliments your happy, goal getter, all is good mood. It
is a must have painting for your happiness and get is done vibe; from a colour perspective.
Nana Fremah's use of clear but precise lines draws attention to the focal points in the artwork.The
thin horizontal pearl-like nails of the hand in place of the head, the slanted line from the neck, the
lines of their underarms and the curve shape formed from the ladies seated at both entrances of
the artwork, together give a blend of variety; that is different perspectives of the same element
interwoven but balancing each other to create emphasis.
The artist's use of texture is quite intriguing.The smooth but implied roughness of the scarf gives a
floppy feel to the object which is mainly used by the affluent in society or anyone who wants to
soothe him or herself.The stools they are sitting on give an added detail implored to project the
main subjects of the art piece.The smoothness of their skin tone contrasts with the rough looking

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
appearance, a genetic condition causing light pigment to no melanin in the skin appearing like an
albinism.The similarity of their skin tone gives indication that this could be a portrait of a family,
nuclear or extended, perhaps first cousins.
The use of reflective materials in the painting gives an indication that there is more to the painting.
Additionally, the painting is an ever-dynamic art piece because it incorporates the viewer or
anything that pays attention to it.
There is a repetition of indistinct organic shapes from the bright gold leaves projecting it amidst
the many colors in the art piece. The hosting of the flower on the finger enhances recognition of
the repeated nails which signifies a touch of nature. The heart shape and the aura it creates gives a
settling affection spiraling into the geometric shape of the necklaces, denoting a bit of complexity
and flavor to tickle a critical interest.
The hue of the dresses brings in a variety that makes them stand out from each other, while at the
same time accentuates harmony within the similarities. Their posture infuses an air of
contentment, pleasant emotions, and peace around them in a warm setting signifying beauty in
diversity and resemblance.
The artist is patient with the medium, mixed media exploring the combined effect of acrylic on
canvas, paper, mirror, jewellery, and gold leaf to produce precision. She confidently and
effortlessly utilized the materials effectively to produce the intended outcome.
Although Nana Fremah puts the women together, it does not make the individual characters in the
painting look smaller but rather the composition works well, grabbing the needed attention.
The replacement of the head with the hand gives the final part of the upper body a complex
structure and appearance which demands the viewers’ attention to the piece, to get through it.
The head’s sharp contrast with the background produces the needed visibility, making the painting
stand out nobly. The use of unintended repetition and texture on the head and the hands gives it a
rhythmic flow of amalgamation. The play of distortion may suggest a hidden fascination or deeper
relation with the hand presented as the head, hence such prominence in the work.
The edges of the art piece don’t fade away like other paintings, rather, they are very distinct and
clear which creates multiple points of focus. The painting was created in a warm setting, telling
from the choice of colors which expresses a sense of comfort in the environment where the art is
taking place.
The painting, apart from being squarish in nature, captures a full representation of women in their
prime not in terms of age but the level of awareness of themselves. Moving on, the artist carries
one along through her style and the combined effort of unity, variety, and balance.
There is a blend of both imaginative and mathematical order of arrangements in the deployment
of materials such as reflective objects, earrings to enrich the medium of exploration. Exclusive of

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
any visible conflict and anchored by the elements, the outright outburst of colours is selflessly
formed with care, creating a seamless appearance.
Interpretation
The artwork addresses black women and the power tussle of self-acceptance experienced by
humanity leading to their midlife crisis. The painting suggests a dispensation where excessive
manicure, touch up, cosmetic surgery and total body transformation, makeover and
reconstruction have now become society's standard of beauty; overlooking internal beauty, how a
person feels inside and one’s character.
The women in this painting have a skin disorder yet their affluence does not excuse them from the
harsh remarks by the frivolous part of society. The only shield from such attacks is to cultivate self-
worth and internal strength. This could be achieved through meditation, thinking positive
thoughts, and practicing affirmations.
Whilst many have succumbed to the frivolity of external beauty, the family in the painting, “My
True Self-Queen” seems to celebrate the totality of who they are including their skin appearance,
tastes, love for life and each other, peace of mind and togetherness. Generally, what you think of
yourself and how you present yourself is your self-esteem. Thus, the experience of self-esteem lays
the foundation for self-acceptance despite appearance, looks and status.
Interestingly, low self-esteem can make one accept disrespectful behaviour from supposed lovers,
friends and even strangers. The artwork created by Nana Frema; the assembly of black women
coordinated in a celebration of self-acceptance in this era is highlighting the politics of self.
Painting, like most art, takes a lot of patience, discernment, and a deeper understanding to be able
to get what the artist is communicating. The emotions embedded in the work, stillness and ease
are supported by the settings chosen and the accessories used.
On the other hand, the chaos of the hands replacing the head and the unsettling feeling of initial
disorder pull you to focus your attention, quietly saying, this is not your usual piece of art.
Nonetheless, the appearance of a bold, established, and firm lower body gives the painting a solid
perspective such that the other body parts are not undermined by the absence of a traditional
head.
As a tool for performance, the hand guides the blind and helps the deaf to communicate. It is also
used for salutation, supplication, and reproach including manual labour, writing, pointing, feeding,
touching, tearing, building and so on. In art, hands are used to depict the totality of a person and it
is very critical in dance and drama. Therefore, Nana Frema's symbolic use of the hand to replace
the head in the painting goes beyond the simple tenets of distortion.

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
The hand is an indispensable part of human physiology. In many cultures around the world, the
hand has many meanings because of its enthusiastic functions in expressing life. As Aristotle put it,
the hand is the "tool of tools." Among the many endeavors of the hands are providing protection,
representing strength, and demonstrating power. Thus, the hands of mothers are kind, soothing,
assuring, forgiving, and calming; indeed, nothing can replace the tender hands of a dedicated
mother which artistically is accentuated in the painting.
Evaluation and conclusion
Nana Frema Amoabeng, a Ghanaian artist, specializes in realism, abstract art, and portraiture. In
her work, she uses textures, colors, distortions, and spontaneity in a versatile and adventurous way.
In 2015, she graduated from Ghanatta College of Art and Design, and in 2020 she was accepted to
Critlab's Art Residency program according to the Suma Journal a publication by the Women’s Arts
Institute Africa.
Painting allows her to contribute to discussions about the human body, especially the female body.
Specifically, she is interested in how mass media and social media are used to control and produce
what is perceived as an "acceptable" female body in contemporary societies. The painting
successfully captures today’s world in an original quality and skillful manner.
The artist’s distinct expression in the painting is evidence of building a robust style begging to be
different and to speak in her own voice. Social media in this era has engulfed many people thus
losing their unique quality and they are thrown into a pit that will take years of enormous work in
isolation to detoxify.
On the other hand, Nana Frema stood in her truth to articulate the emerging and culmination of
her life experience at that time. From the eye of the artist, one can see the relevance she puts on
her hands, begging the question, why? The critical issues highlighted her experience of knowing
the vital value of her hand, the importance of women and thus the feminine in human life and the
essence of diversity in creation which manifests in many forms. The painting highlights the issues
that are important to her and how she has made peace with them in gracefully assembling the
painting “My True Self-Queen.”
A brilliant attempt to challenge people to believe in themselves, especially women, young and old
alike. We live in a society that expects so much but does not see the damage caused by its undue
expectations. Beyond all the façade of a glamorous life, Nana Frema gave the much-needed voice
that it is okay to be different even if you struggle with self-esteem.

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“MyTrue Self – Queen”, an acrylic painting, a critical art review by Sabina Sarsah
Reference
Ofoe M (April - June 2023) Suma Journal, International women's day special; woman in the arts share
experience in the digital: innovation and technology gender equality within the Covid - 19 context.
Women’s Arts Institute Africa. waianetwork
https://www.waianetwork.art/2023/05/suma-journal-first-edition.html
Geothe-Institut Ghana (August,2022) Hand Statement a Solo Exhibition by Nana Frema Amoabeng.
Geothe-Institut Ghana.
https://m.facebook.com/goetheinstitutghana/photos/a.155632337833146/5724143647648626/?type
=3&source=57
Alpenfels E (1955) The Anthropology and Social Significance of the Human Hand. Digital Resource
Foundation for the Orthotics & Prosthetics Virtual Library Project,
https://www.oandplibrary.org/al/1955_02_004.asp
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