Daniel Dzonu Clarke

Aburi’s Gaze 26x30cm Glaze on ceramic tile, grout and pigment This piece is inspired by a building I came across a few years ago, a forgotten structure left in limbo, slowly being reclaimed by nature. Now an open space for all to rest and gaze upon the forest. A forgotten dream making space for the dreamers. Made from found materials, such as the wood used for the frame and the clay that makes each tile. Each tile is set in grout mixed with pigment. Available on @gertrude__art

Moments from the recent ‘Mirroring Dialogue’ exhibition and a new artwork I exhibited titled ‘Eternal Loop’. This artwork was made especially for the exhibition and was a new approach to framing my tiles, using leather lace to bond the ceramic to the wooden frame. Previously I’d used glue to mount my ceramic tiles but this time I wanted to show the connection between the two materials, while sticking to natural products. The tiles are made from clay that was sourced from a construction site in Tottenham which I processed and mixed with other materials to form a clay body suitable for glazing at stoneware temperatures (1250c). When watered down, the clay itself can also be painted onto the tiles, which gives the rich, burgundy tones once fired. Wood, leather lace and London stoneware clay. 80x50cm Exhibition curated by @ronanksm and @studiotionetrice ✨

Two nights in Togo 🇹🇬

Recent experiments with the iron rich, red clay of Ghana’s coastline 🧱 Here’s a little look into the process and some of my favourite tiles from the firings. The results are a mixture of my usual glazes alongside some new recipes made from local, natural materials 🍃

In Issue No. 10, Hammer & Hope’s culture editor Lovia Gyarkye profiles Raoul Peck, the director known for the documentaries “Lumumba: Death of a Prophet,” “I Am Not Your Negro,” and, most recently, “Orwell: 2+2=5.” The Haitian filmmaker has spent 40 years using the archives to combat historical erasure and to highlight the people’s version of the past. “In many ways, Peck’s work and methodology have never been more important,” Lovia writes. “The latest chapter of fascist progression in the United States involves rewriting history. Since January 2025, the Trump administration has engaged in an alarming revisionism, removing materials from federal property and land that do not serve a white supremacist agenda, including, but not limited to, acknowledgments of slavery in America and the civil rights movements of Black and LGBT+ people. This is just the first step in rolling back the progress of these efforts. With their focus on how violent politics have shaped and instigated some of the most brutal chapters in world history, Peck’s films offer audiences tools to recognize and articulate what’s happening and highlight the risks of ignoring these dangerous shifts.” Tap the link in our bio to read the rest of Lovia’s profile. ✍🏿 @simplylovia 🎨 @danieldclarke

Circling Niteroi
 Glaze, pigment + grout on stoneware tiles. 16 x 26cm 2025 Foraged. Reclaimed. Reworked. Part of a new ceramic collection with @gertrude_art Link in bio to see more 🧡

Trusting the process… the last slide made it worth it 🧡 Currently in Ghana staying with the @kokrobitey.institute experimenting with local clays and luckily there were construction works happening right at the entrance. Excited to test out the clays beneath where we’re working and get the team here involved. Uncle Wisdom was the first to test it out and it was also his first time using clay, clearly a natural 🫶🏽✨

Niko’s Vesper, 2025 Glaze on stoneware clay tiles 23 x 14cm Ngor’s Blue Moon, 2025 Glaze on stoneware clay tiles 23 x 14cm

Legon Daze 17 x 25.5cm Glaze on stoneware tiles, pigment and grout. 2025 Recently worked on a new collection of ceramic artworks, this piece was based on a peaceful moment spent in Accra, where I’m excited to return to soon 🌞 Made from a mixture clays, some foraged, some recycled from construction sites and the rest from pottery suppliers. The tiles are pressed with found natural objects from the places the artworks are based on, creating textured tactile qualities and housed in a handmade frame. View the collection on @gertrude__art ❤️

Daniel Dzonu Clarke Passing Achimota, 2025 Glaze on Stoneware Clay Tiles, Grout and Pigment 23 x 17 x 3 cm ➡️ on Gertrude now. Link in bio #contemporaryceramics #ceramicsculpture #stoneware #artcollector #emergingartist

‘Radiance 1898’ Diptych Acrylic and pigment on linen, 2026 122 x 304 cm Private collection 🎥 @r_chsmith

Dreamscapes with @danieldclarke Join us for a hands-on workshop exploring visions and dreams, and how they can be documented as artworks. Led by artist Daniel Dzonu Clarke, participants will create a personal, hand-painted dreamscape across an A5 tile and accompanying coaster. Sign-up link in bio. Daniel Clarke: Daniel Dzonu Clarke is a mixed media artist based in London of British-Ghanaian descent. He furthered his practice at Camberwell College of Arts, studying Illustration. Over the last decade, his work has been awarded by galleries and museums such as the V&A and worked with the Barbican, and featured internationally in The New Yorker, Wallpaper, Penguin publications and more. Travelling abroad for work, he filled spare moments documenting the beauty of his new surroundings. These drawings inspired the vibrant, abstract landscape paintings that would define his artistic practice. This exploration has since evolved to textiles and ceramics. Soft Stuff: Soft Stuff uses radical creativity as a tool to connect Black men. Through culturally relevant programming in collaboration with artists, institutions and brands, we create spaces to offer support without the stigma. We are building a world where all can feel connection and joy in life. This workshop is supported by @morning.fyi and @mudgang_pottery