Amba Gallery

The architectural design of Amba Gallery pays homage to African artifacts, creating a space where intimacy and magic envelop the spirituality of ancient pieces, such as renowned Benin and Ashanti Bronzes. The architectural goal is to establish a hybrid environment, seamlessly blending contemporary design with authentic vernacular African architecture.

The interior ambiance resembles an amphitheatre, characterized by curvy steps surrounding a central circular stage. Complemented by a monolithic steel wall in the background, this architectural arrangement seamlessly integrates contemporary and vernacular traditions. It creates a space designed to facilitate radical cultural production and education. It goes beyond the conventional exhibition of antique art and artifacts, aiming to foster a deeper understanding and appreciation of cultural heritage.

Designed by Italian-Albanian architect Blerta Copa, currently based between Ghana and London, he envisioned the gallery design in collaboration with the gallery´s founder Amadu Baba and curator/creative director Lungi Morrison. The trio intentionally moves away from the standard concept of an art gallery characterized by “white walls and empty spaces.” Their goal is to provide an alternative visual perspective for appreciating African sculptural art pieces, bronzes, and antique textiles, offering a more distinctive and engaging experience than the traditional gallery setting.

Guided by the flow of intuitive circular shapes, visitors are encouraged to move organically through the gallery’s floor. The different levels of raw soil artfully replicate the natural topography of Ghanaian landscapes. The fluid and expansive design converges into a three-dimensional exhibition space, offering a multi-dimensional experience that mirrors the diverse day-to-day interactions across Africa’s vast landmass.

The gallery’s name intentionally references the color “amba,” reflected in the use of terracotta within the walls. While “terracotta” originates from the Italian translation meaning “baked” or “cooked earth,” the deep orange hue holds rich global historic significance. This ethereal pigment is famously found in vernacular architectural structures native to West and Northern Africa, notably the Great Mosque of Djenné in Mali and among the Dogon people.

“Paintings reflect contemporary African people and hue’.

Sculptures acknowledge and preserve ancient ancestral wisdom, form and design modalities

Textile, a tapestry of culture woven through intricate hand-made loom’