What really is an artist's' role in his/her community? Does he/she owe the community a sense of responsibility in any way, especially when the community is their source of material, inspiration, and provides the space for production? Is the use of narratives from the histories of the community used in the work enough contribution by the artists to their community? At what point does the artist engage the locals in the work of art? How important is it for the artist to communicate a shared meaning/understanding of their work with the community? These are some of the questions that Serge Attukwei Clottey @afrogallonism's work and thought process usually interrogates. He's always said his community plays a major role in his work (from sourcing of materials to production). Also, because he usually highlights family/community histories in the areas of migration and trade in his work, he believes it is only right that he always shares the works with his community before they leave his studio. His GoLokal collective and studio assistant are all from his community, and he says it's a deliberate move. Serge believes that's how he gets his community involved in his work in all the stages of production. That is from collecting the materials, especially the yellow gallons from peoples homes, and acquiring the services of young men and women to help in the production (cutting, & stitching)... . . 📷: Nana Osei - 2018 . . #labadi #accra #ghana #westafrica #africa #art #contemporaryart #sergeattukweiclottey #communityengagement #histories #afrogallonism #community #ashantiimmigrant #followtheyellowbrickroad #labadiinfocus #artnewsafrica #everydayafrica #360degresslabadi #accrawedey #streetstyle #streetphotography (at Accra, Ghana)