Mowbray Odonkor was born in London, England on 27 November 1962 into a family of Ghanaian descent. Studying at Wimbledon College of Art from 1984–87, she gained recognition for her, often, self-portrait based work exploring themes of judgement and conflicting identities. As a second-generation artist, her work juxtaposed ideas of British culture with poignant reflections on the historical consequences of slavery, imperialism, colonialism, and apartheid.
Painter and draughtsman, Mowbray Odonkor was born in London, England on 27 November 1962, into a family of Ghanaian descent. She pursued her studies at Wimbledon College of Art from 1984–87 and gained recognition for her, often, self-portrait based paintings and drawings that explored themes of judgement and conflicting identities. As a second-generation artist, her work juxtaposed British culture with poignant reflections on the historical consequences of slavery, imperialism, colonialism, and apartheid. Through her artwork, Odonkor encouraged a reassessment of the inflexible constraints of society, fostering dialogue around the concepts, convictions, and histories ‘that make up the fabric of our existence’ (cited in Chambers 1991). Eddie Chambers pointed out that Odonkor was responsible for some of the most engaging and eloquent art pieces created during the 1980s (Diaspora Artists). By questioning established norms and attitudes, her work provoked a reevaluation of interpersonal relationships, self-perception, and external perceptions, especially regarding the portrayal of Black individuals in the media.
Odonkor's most well-known piece, Self-portrait with Red, Gold and Green Flag/Onward Christian Soldiers, was acquired by the Arts Council Collection in 1987. This artwork was a reflection of Odonkor's profound concern about slavery and the slave trade. The painting was a pivotal representation of the artist's belief in the intertwined relationship between the history of slavery and her personal identity. In the painting, Odonkor stood with arms outstretched in front of a flag featuring repeating horizontal stripes of red, gold, and green, mirroring the design of an Asafo flag. The origins of these flags can be traced back to Asafo companies, military groups that prevailed among the Akan people residing in southern regions of what is now known as Ghana, centuries ago. When European explorers arrived, Asafo members were sometimes recruited as auxiliary soldiers. The inclusion of the Union flag in the top left corner of the painting was a reference to Odonkor's own personal story and identity. The British flag's presence in the work symbolised the connection between Britain and the enslavement of Africans, as a scene depicting a slave coffle (a line of slaves chained together and forced to march) was positioned directly below it. Chambers highlighted that the painting also conveyed deep Christian narratives, which might stand in stark contrast to assertions that Christianity was complicit in the suffering of Africa and its people (Chambers 2013, p. 302). In her self-portrait, Odonkor, with arms outstretched, invoked imagery reminiscent of crucifixion, denoting notions of self-sacrifice, martyrdom, and sainthood.
In 1987, Odonkor's art was showcased in the exhibition Black Perspectives at the South London Gallery, which included works from other diaspora artists, such as Eugene Palmer, Amanda Holiday, and Gordon de la Mothe, selected and arranged by the Sojourner Truth Association in partnership with Southwark Arts and Greater London Arts, with the aim of highlighting the talent of Black artists in Southwark. In her personal statement, Odonkor declared that ‘I make pieces for and about people I have most in common with: Black people […]. Human situations and beliefs, their effects and origin is what informs my work’ (Black Perspectives 1987, p. 13). Odonkor's insightful drawings were later part of the 1991–2 Norwich Gallery touring show History and Identity. Curated by Chambers, the exhibition presented the works of seven painters of African or Asian descent, each offering their own unique interpretations and responses to their dual heritage of history and identity (Chambers 1991). Among Odonkor's contributions were Self Portrait with Red Gold and Green Flag and In Eeny Meeny Miney Mo, Now You See Me Now You Don’t, the latter showing Odonkor in six different guises and addressing the formation of stereotypes and judgments. She later contributed two pieces to the 1988 Black Art: Plotting the Course exhibition at the Oldham Art Gallery. Maid and Madame scrutinised the plight of South African women under Apartheid, while Betty and Veroni explored her sisters' relationship with British and Ghanaian identity, questioning if their roots and life in Britain defined them as Black-British, Afro-Caribbean, African, or some other identity. In 1987, her work featured in The Image Employed: The Use of Narrative in Black Art exhibition at Cornerhouse, Manchester. This was a display of works selected by Marlene Smith and Keith Piper, featuring artists including Simone Alexander, Zarina Bhimji, Sutapa Biswas, and Sonia Boyce. Other significant exhibitions of Black art featuring Odonkor's work included Some of Us Are Brave at The Black Art Gallery (1986) and Young Black and Here at People’s Gallery (1986).
Recently, her work was included in Captured Beauty at the Newlyn Art Gallery (2022), an exhibition curated by Abi Hutchinson, Artistic Director of Black Voices Cornwall, featuring contemporary works from the Arts Council Collection. In the UK public domain Mowbray’s work is represented in the Arts Council Collection.
Consult items in the Ben Uri archive related to [Mowbray Odonkor]
Publications related to [Mowbray Odonkor] in the Ben Uri Library