The beauty of moments lies in their fleeting, impermanent nature. Whether filled with joy, quiet reflection, or intense emotion, each moment is unique, irreplaceable, and suspended in time. When we look back on a trip, a memory, or a unique experience, it often condenses into a single image in our minds. This snapshot captures an entire period instantly. That image stirs emotions, whether it’s the warmth of a place, the energy of a person, the sun setting, the moon rising, or the feeling of that particular moment. These fragments echo the truth that everything is transient, and that transience, in turn, makes them all the more precious.

For Gideon Appah, these brief flashes are where creation begins. He captures the richness and complexity on the canvas of the fleeting instances. Each brushstroke is a reflection frozen in time— encapsulating the emotional weight of a moment and giving permanence. Through Gideon’s visions, moments linger long after they have passed. His canvases are imbued with a captivating timelessness that transcends the constraints of era or geography. It’s as if he can pause time itself, freezing a single frame and imbuing it with a sense that transcends the original medium. He finds some of his most emblematic muses in the moments he remembers from childhood in Ghana.

Adept at capturing the majestic grace of a horse, the peacefulness of a body of water, or the subtle fragments of everyday life, Gideon possesses an uncanny ability to distill the purity of his subjects, with a timeless quality that invites the viewer into a place that is both familiar and transcendent. He is particularly drawn to the stillness and quiet moments even when depicting active scenes, where movement is essential to the image of the painting.

Photo by: Chloe Bellmere

From his beginnings as a young artist in Ghana, Gideon strived to evolve both his craft and creative vision through a relentless pursuit of growth and experimentation. Whether immersing himself in the vibrant interdisciplinary community of artists in Ghana or traveling to far-flung corners of the planet, this painter is a voracious absorber of reflection and the cross-pollination of ideas and experiences that have shaped his artistic journey.

He has always been deeply attuned to the technical process required to create powerful visual moments on canvas. But beyond skill, his dedication to the emotional depth and strength of his work truly drove him. His ability to visualize with such intensity—coupled with his belief in the impact these creations could have—became the foundation of his future success. He didn’t just paint; he manifested his destiny and harnessed his inner vision to shape the artist he would become.

“When I didn’t have a gallery, I used to dream about working with one—having my own shows, one after the other. I used to dream I could be at Art Basel, even when I was still at University.

I didn’t know much about it back then, but I would hear about it and think, I want to be part of that. I would look at the artists showing there, at Frieze, and in my mind, I would put myself among them. What if I were in that position? What would it feel like to be there? I remember those times—they were some of the hardest in my life. But dreaming about these was a kind of escape, a way to imagine myself having a different future.”

It was more than just fantasy; In his case, became a clear example of manifestation in action.

Photo By: Chloe Bellmere

Gideon has a special place for cinematography, which he finds visually striking and emotionally resonant. Appreciating how certain moments are captured in film, he tries translating that feeling into his painting practice. He’ll take a picture in his mind of one moment in a movie and the emotion it generates as a viewer: “I have one of a man in the room standing in between two curtains. I thought it was a very beautiful scene, and another was of a woman and a man having a discussion; it looks like it was very emotional.”

From black-and-white classics to the bold, action-packed blockbusters of the 80s and 90s, he meticulously catalogs the films that captivate him, amassing terabytes of footage on external hard drives. He might extract the moody, atmospheric lighting from one scene and blend it with the kinetic energy of a chase from another, translating these elements with such detail and emotional resonance that they transport the viewer into his own universe—one where his imagination arranges a puzzle of fragments drawn from different memories.

A very inspirational thing Gideon shared was that in his formative years, just starting as an artist, he would sometimes get frustrated with his work and forsake certain paintings that didn’t meet his high standards. He would put them aside and move on to another. As his painting process evolved and became more intentional with things like color and composition, and he added more complex elements to his work; he became less inclined to jilt paintings and now works through challenges, employing “missteps” as “the steps” for opportunities, experimentation and development.

A pivotal moment for him came when the renowned Pace Gallery discovered the artist’s work at The Institute for Contemporary Art at Virginia Commonwealth University. Recognizing his immense talent, Pace brought him into their fold. It was around that time, a beginning of a new period for him, he immersed himself in diverse creative communities, like a residency at Water Mill with shows in London and South Korea. And with each discovery, he is driven to share these visions, not just for his artistic fulfillment but to inspire others to open their eyes to the beauty surrounding them.

Traveling abroad also allowed him to live his appreciation for the work of other artists and how paintings. For the first time, Gideon witnessed some of the masterpieces with his own eyes, which he had only seen or read about in books or online.

Listening to the excitement in his voice was heartwarming as he described his experience of seeing Julian Schnabel’s paintings up close at an exhibition and how the technical mastery and composition of the work were even more impressive in person. “You get up close, and it looks like one thing, and you go back and say, oh, this is what it is! It’s one of the shows I saw and thought was really, really amazing. I’m just envisioning him going up, putting something on the canvas, and then having to jump back and look. He must have painted them from far away from the canvas”

DP: You did a residency at the Water Mill this year; what was your experience like?

GA: Yes, it was a beautiful moment in the Water Mill. There were several artists, from performances to poetry and almost anything you can think of, including choreography, which was a fantastic experience. Bob made us feel welcome and gave me all the space and energy I needed to make work. Also, we were fed like Kings. It was a fantastic experience. I could visit places like the Parrish Museum and see shows by other artists, which was very inspiring.

DP: When you were at Watermill, Do you think being around so many different types of artists inspired you to go in new directions with your work?

GA: Yes, I already planned what I would do when I went there. I was all prepared. I had sketches and ideas of how I wanted to paint. Being around many different types of artists inspired me to try new things. I started to work on smaller canvases as well. That was a new experience for me, scaling down in size. Some of the work got more complex, and that is a challenging factor of the practice, and that’s also what makes it interesting. I had several moments where the painting could look like so many other things, but I had to come up with one. I started making the paintings more complex, adding more figures within the landscapes. Working on the smaller canvases was a new challenge for me. I had to focus more on details and brushstrokes, which was difficult at first since I was used to larger scales. But it pushed me to be more intentional and thoughtful with my compositions on the smaller formats.

Photo: Chloe Bellmere

DP-You had a show in South Korea with Pace. Culturally, What was it like for you to experience South Korea?

We had a press conference. I was impressed with their strong enthusiasm for art, as I saw they took it seriously. They examined the canvases and the works. Some asked very technical questions, and as an artist, sometimes you think that canvas is the little world I just created, and you know that’s my world. So, objects could be any color; anyone could be any color. Is it just what I’m feeling at the time? But I liked the questions because they paid close attention to details.

DP-You have horses in a few of your paintings. Is there a specific meaning to them, or does it just add to the environment?

GA: The horses in my work often feel more like a portrait. I Focus on its strength and majesty, which allows it to stand alone in the painting. A horse is such a remarkable creature that it’s a privilege to paint. Sometimes, I also include a figure—either placed on top or beside the horse—because I’m always interested in capturing human and animal connections. That relationship adds a layer of beauty and depth to the piece. It’s a connection of harmony and power.

DP: How have you been involved in supporting young artists in Ghana?

GA: I try to do a lot to help foster the next generation of Ghanian artists. I have co-curated shows focused on emerging artists included WORLDMAKINMG at Mitchell-Innes & Nash Gallery in New York in 2023 alongside Ylink Barotto. Through Nubile Foundation’s Young Ghanaian Artists Program (YGA) we have raised funds to support young artist’s development.. Giving back to the community is very important to me. I try to support and advise young artists I work with in Ghana. I’ll visit their studios, offer feedback on their work, and connect them with galleries and opportunities. I’ve alos provided some art materials to help them in their practice.

Photo by Damien Griffiths

DP: What is your relationship with the artists you work with in Ghana? Do you provide advice or materials?

GA: I try to provide support and advice to the young artists I work with in Ghana. I’ll visit their studios, offer feedback on their work, and even help connect them with galleries and opportunities. I’ve also provided some art materials to help them in their practice.

DP: When you go to art supply stores in other countries, what is that experience like compared to Ghana?

GA: The accessibility and selection of art supplies are much greater in places like the US and the UK compared to Ghana. In Ghana, a couple of shops sell professional art materials, but artists often have to source some supplies from outside the country. The variety and abundance of options in other countries were quite eye-opening.

DP: Do you find the colors in your paintings change depending on the body of water you’re near?

GA: Yes, I do find that the colors in my paintings can shift a bit depending on the body of water I’m experiencing. The sky and water can take on slightly different hues and tones that influence how I approach the colors in my work.

Gideon’s pilgrimage is marked by personal triumph and a commitment to lifting others and sharing his knowledge and resources in the creative landscape. As he continues to push his boundaries, one can’t help but feel a sense of excitement for the journey ahead as he invites each of us to connect with the universal emotions that define our shared experience.