It’s hard to miss Ibrahim Mahama’s monumental work on the day I see it - on an unusually and alarmingly windy day, it is flapping and rippling across the Barbican’s Lakeside Terrace as it is installed - but then that is the point.
For Mahama, the opportunity for bystanders to engage with his art is key in a practice so far defined by a spirit of democracy. In his home country of Ghana, his contemporary art centre provides the social infrastructure for arts education; in his exhibitions internationally, he cultivates a collaborative focus.
