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Victor Kuutuome — the “Clay Doctor” causing a stare with sculpture
Has anyone ever tried drawing or painting a piece of art but the work turns out not to be anywhere close to what one had intended to portray?
That could be embarrassing sometimes and it would be most appropriate to ‘hide’ the supposed artwork or risk being mocked by their peers or even competitors.
However, that is not the case of young Victor Kuutuome. He falls in the category of persons who are meticulous about their craft and he produces marvelous works deserving commendation.
With barely three years in the Arts and Sculpture industry, his handiwork has become a huge attraction to many art enthusiasts.
Victor, 29, is a final year student of University of Education, Winneba. At the time of this interview, he was on a teaching internship in one of the schools in his locality.
He had studied Visual Arts at T.I. Ahmadiyya Secondary School in the Central Region in 2009 but financial constraints did not permit him to gain admission to the university the following year.
For eight years, he worked as an apprentice to a roadside artist before gaining admission finally to the university in 2017 to polish his skills in Sculpture and Graphic Design.
The sculptor, now popularly called “Clay Doctor” interacting with The Spectator about his recent works and future prospects, said he had wanted to abandon the course as he did not have initial interest in the field.
“I had wanted to study ceramics but one of my friends suggested we try something new so I settled on sculpture. I was completely lost during our first lesson because I did not have any prior knowledge in this area,” he narrated.
Nonetheless, he soon acquainted himself with the programme and had presented his first practical work which was rated highest among that of his compatriots in class.
As his interest in the craft grew further, Victor said he decided to understudy one of his lecturers at the Art Department who became his mentor.
“My lecturer [Dr. Thouphilus Kwesi Mensah] who was already a sculptor was impressed with my works and agreed that I work with him. His words of encouragement throughout the period pushed me to keep learning,” he noted.
Barring any unforeseen circumstance, Victor would graduate in a few months from today but he had already designed beautiful statues, depicting a host of personalities including popular footballer, Asamoah Gyan, President Akufo-Addo, Vice President Mahamudu Bawumia, and their spouses.
Others include well known musicians such as Stonebwoy, Shatta Wale, and Sarkodie which had gone viral in the early part of 2020.
His recent Akufo-Addo–Bawumia project which he calls “The Grace” had received positive feedback and he was looking forward to an opportunity to present the sculptures to the first gentleman of the land and his able deputy soon.
Touching on the various aspects of his work, Victor said he was able to “visualise the final outlook of any project before it started, adding that he had become engrossed in sculpture to the extent of diverting part of his school fees last year into completing one of his projects.
The man who hails from Nandom in the Upper West Region said he now found gratification in sculpture and believes “hardwork and passion” had contributed to his progress over the years.
“I enjoy giving a helping hand to others and the more I impart knowledge, the more I learn,” he said.
Victor indicated that a number of local and international clients had expressed interest and were “willing to pay good money” ever since his works began receiving public attention.
He said the craft, though exciting, came with some challenges and it took about one to three months to complete a project. However, there were others that could be done in two days.
“In addition to clay which is the main component, we use some chemicals also to enhance the final outlook but some of the chemicals could be harmful.
“Some people had gone blind due to exposure to some of the chemical so we take extra precaution when working with it,” he added.
Last year, Victor and six of his other colleagues were supposed to work on a project for their university but it was truncated due to the lockdown and subsequent closure of schools.
Obama, as others prefer to call him, wants to pursue a Masters Programme in sculpture right after school and consider lecturing in future as well.
While admitting that a section of the public were beginning to understand that statues were “not meant for the dead alone,” he said he was focused on improving the quality of his works and not seeking to compete with anybody.
“Sculpture is the father of art hence producing a statue of someone is an act of immortalising the person. We all will die someday but a sculpture will make the person be remembered forever,” he noted.
According to him, “some individuals now presented statue to their loved ones as a form appreciation but there is still the need for sensitisation while the government provides the needed support for the art and culture industry.”
Victor said he did not “expect a lot of things to happen so soon” and much of his gratitude goes to his mentor and lecturer, Dr Mensah.
The “Clay Doctor,” got his name when he wore a white overcoat to lectures. A friend had teased him briefly for appearing “too decent” to be working with clay and that nickname has since become his brand name.”
Apart from his day’s job, he has a miniature studio at home where he does most of his work anytime he receives orders.
By Ernest Nutsugah
AUTISM Awareness Care and Training (AACT) is Ghana’s first autism-focused centre, playing a pioneering role in the care, education, and advocacy for children on the autism spectrum and their families.
Established in 1998, AACT began as a parent-support and training initiative at a time when autism was poorly understood in Ghana. Many families raising autistic children faced stigma, isolation, and limited access to information or professional assistance.
Over the years, the organisation has evolved into a full-fledged autism care and training centre, responding to the growing demand for specialised services and sustained nationwide awareness.
AACT is currently located in Haatso, Accra, where it operates a structured day programme serving about 25 learners daily. The centre provides a safe, inclusive, and supportive environment where children with autism are guided to develop essential life, social, and functional skills.
Programmes at the centre focus on independent living skills, vocational and pre-vocational training, functional academic skills, and therapeutic interventions. These activities are tailored to the individual needs of each learner, recognising that children on the autism spectrum learn and develop at different paces.
According to Abeiku Grant, Head of Programmes at AACT, the centre’s philosophy is centred on ability rather than limitation.
“Every autistic child is different,” he said. “Our work is to support them at their own pace and help them discover what they can do, not to focus on what they cannot do.”
Beyond centre-based services, AACT places strong emphasis on autism awareness and advocacy, particularly within schools and communities. Many children with autism in Ghana continue to face rejection and exclusion due to stigma, misinformation, and the lack of trained personnel in educational institutions.
In 2025, AACT reached over 20 schools across the country, providing autism education to teachers, students, and school administrators.
The organisation also runs free teacher training programmes, equipping educators with practical knowledge and basic tools to support autistic learners in inclusive classroom settings.
“Many schools tell us they are not resourced or trained to handle autistic learners,” Mr Grant explained. “Instead of waiting for change, we decided to go to them and train teachers for free.”
AACT also engages learners directly, addressing widespread misconceptions about autism, including the false belief that autism is contagious or caused by bad parenting. These outreach programmes aim to build empathy among students and promote peer support for autistic learners in mainstream schools.
Another major challenge confronting families is limited access to autism services, especially outside Accra. With most autism centres concentrated in the capital, many families from other regions are forced to travel long distances or keep their children at home due to cost, stigma, or lack of support.
“Education is not meant only for typical children,” Mr Grant stressed. “Children with autism also have the right to education and care. No child should be hidden because of lack of understanding or opportunity.”
As part of its outreach work, AACT supports parents to overcome stigma and encourages social interaction for children with autism, believing that community engagement is essential for development and confidence building.
In December 2025, the centre received what it described as its largest donation of the year, raised by children from the Unmasked Mentoring initiative. According to the organisation, the donation was particularly significant as it demonstrated empathy and social responsibility among young people.
As a non-governmental, non-profit organisation, AACT depends largely on donations, partnerships, and goodwill to sustain and expand its work. Current needs include a minibus for community-based social activities, expansion of its facility to accommodate more learners, sponsorship support for children from financially challenged families, and funding to scale autism awareness programmes nationwide.
Looking ahead, AACT envisions a Ghanaian society that is inclusive, informed, and supportive of persons with autism.
“Our goal is a Ghana where children with autism are accepted and supported,” Mr Grant said. “Every child has potential. All they need is understanding, opportunity, and care.”
By Esinam Jemima Kuatsinu
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If you found yourself in Tamale last weekend, you would have stepped into an atmosphere alive with colour, rhythm and memory. The maiden Northern Ghana FOTO Festival did not feel like a typical exhibition; it felt like a cultural awakening.
Between rows of tall white panels displaying hundreds of striking images, a cultural troupe danced their way through the space, their drumming rolling through the hall like a heartbeat. The dancers’ movements fluid, bold, traditional, created a living bridge between the past and the photographs surrounding them.
Not far from the performers, chiefs in their elegant traditional regalia paused thoughtfully before portraits capturing festivals, rituals and everyday life. This immersive scene set the tone for the Northern Ghana FOTO Festival, which opened in Tamale with a resounding call for cultural preservation through visual storytelling.
The event gathered photographers, cultural advocates, scholars and traditional leaders to celebrate the narratives, traditions and identities that shaped northern Ghana. Originally launched with a call for just 30 photographic entries, organisers were overwhelmed with more than 600 images submitted by over 60 contributors from across the five northern regions.
The range of submissions from seasoned photographers and emerging artists to passionate hobbyists formed a vivid collective portrait of the region’s past and present. The opening ceremony amplified the festival’s cultural spirit with traditional drumming, dancing and performances that reflected the rich heritage the exhibition sought to highlight.
Chairperson for the event, Prof. Elliot Haruna Alhassan, Pro Vice-Chancellor of the University for Development Studies (UDS), described photography as a crucial tool for documenting Ghana’s cultural evolution. He emphasised that visual storytelling is becoming indispensable in safeguarding customs, values and community memory.
The Guest of Honour and former Rector of Tamale Technical University, Prof. Salifu Asuro, praised the organisers for creating a platform that elevates the cultural identity of northern Ghana. He encouraged public and private institutions to support creative arts initiatives, noting their significant role in national development.
Traditional authorities played a central part in the ceremony. Representatives from the Gukpe Naa and Dakpemaa palaces including Naa Prof. Abdul-Rahaman Issahaku, Chief of Gbanyamle and senior faculty member at UDS, as well as the Chief of Bunbong, Uborr Wumbe Dawuni—commended the festival for fostering cultural continuity and encouraging younger generations to reconnect with their roots.
Speaking on behalf of the Northern Regional Director of the Ghana Tourism Authority, Mr Owusu-Boakye Frank, Senior Standard and quality assurance officer assured the Authority’s commitment to supporting cultural tourism. He stressed that visual storytelling, when harnessed effectively, has the potential to attract visitors, preserve cultural assets and strengthen community identity. He pledged the Authority’s collaboration in future editions to position northern Ghana as a vibrant hub for creativity and heritage.
One of the festival’s major highlights was a panel discussion on the theme: “Preserving Culture, History and Community through Visual Storytelling.” Chiefs, scholars and cultural experts explored the importance of visual documentation as a tool for intergenerational education, emphasising photography’s ability to create a timeless cultural archive.
Team Lead of Foto4Change and convener of the festival, Mr Geoffrey Buta, said the initiative seeks to strengthen cultural conservation efforts through photography. “Our forebears relied on oral tradition to preserve history,” he noted. “Today, visual storytelling enables us to continue that work in a more permanent and accessible form.”
Mr Buta announced plans to transform the festival into a rotational exhibition that will travel across northern Ghana, giving more communities access to the growing visual archive. He added that the event would be institutionalised as an annual celebration of culture, research and artistic dialogue.
The displayed photographs captured festivals, landscapes, portraits, rituals and everyday life offering a colourful, honest and layered view of northern Ghana’s cultural richness. Organisers expressed optimism that with sustained institutional support, the Northern Ghana FOTO Festival could evolve into a major cultural event capable of attracting both national and international attention, while preserving the heritage and stories that make the region unique.
By Spectator Reporter
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