Zohra Opoku and the group exhibition she is currently part of, Door to the Cosmos, are highlighted in a prominent full-page article in the December 2025 issue of Vanity Fair. In her conversation with journalist Valentine Servant-Ulgu, Opoku reflects on her Ghana-based studio practice—anchored in daily rituals, research, textile traditions, and screen-print experimentation—where she balances production with creative exploration and fosters a supportive residency space for women artists.
“My studio is located in Ghana, in a cabin transformed into a workspace. It’s surrounded by a peaceful garden, and inside, the atmosphere is very lively. Here, I can leave everything out—my drafts, but also my finished works. This way, I can have a dialogue with them. I divide my time between two rooms: the first is dedicated to storage and my team; and I set up the other so that it becomes a residency for women artists when I am traveling. When my team is there, I focus on printing, embroidery, everything related to production. When I’m alone, I give space to creative ideas. I do research, I read, I’m interested in politics and nature, in myths and history—particularly Akan culture, my father’s heritage.
My passion for textiles comes from my mother, whom I always saw sitting at her sewing machine. I started making my own dresses quite early. I also had my grandfather’s camera, so I trained myself in that art. I wanted to learn how to develop photographs in a different way—not on paper, but on fabric. There’s something magical in the crossing of materials through screen printing.”
