London’s Brutalist Landmark Gets Ibrahim Mahama’s Artistic Makeover

The Barbican Centre in London, known for its grey, angular architecture, is now enveloped in vibrant pink fabric that sways in the breeze like it’s dancing. This striking transformation is the work of visual artist Ibrahim Mahama, who saw the drab concrete and overcast weather as an opportunity to introduce a burst of colour.

Mahama, a 37-year-old artist from Ghana, initially approached the project as a playful idea. He enlisted local artisans from Tamale, near his studio in northern Ghana, to help realize his vision on a grand scale. Over three months, a team of 1,000 people hand-stitched 2,000 square meters of striped cotton and adorned it with 130 traditional Ghanaian smocks known as batakari.

This installation, titled “Purple Hibiscus,” pays homage to London’s historic fabric industry and Ghana’s rich textile tradition, particularly its colourful kente cloth. Ghana’s textile sector, which once thrived after the country’s 1957 independence, faced a decline due to economic challenges and cheap imports. However, local fabrics have regained popularity for their quality and unique designs.

Mahama views art as a crucial element that nourishes the soul of a society. His studio welcomes visitors, and he plans to open an art school for children, underscoring his commitment to community and education. “Purple Hibiscus,” along with Mahama’s other large-scale works, highlights the significance of collective effort and the historical narratives woven into textiles.

Previously, Mahama used jute sacks to explore trade history at Ghana’s National Theatre. His latest project at the Barbican features batakari, hand-woven tunics from northern Ghana. These garments, often handed down through generations, hold personal and historical significance. Some are marked with stains from sweat and even urine, which are believed to encapsulate family histories and experiences.

The creation of “Purple Hibiscus” was a monumental task, with the team working in a sports stadium in Tamale before transporting the piece to London. Mahama finds beauty in the juxtaposition of post-war architecture with traditional craftsmanship, creating a unique dialogue between past and present. The installation’s vibrant pink fabric, especially striking against a clear blue sky, seems to perform its dance, embodying Mahama’s fascination with the dynamic movement of batakari.