George 'Afedzi' Hughes' work deals with the evolution of postcolonial reconciliation and the dialog between personal and universal narratives of contemporary cultures. Born a few years after Ghana, (then the Gold Coast) obtained its independence from the British, Hughes makes references to Ghana's colonial past, and draw parallels between Ghana's history and that of global cultures.

In his work, Hughes contemplates the often crude reality of violence in various societies through associative imagery juxtaposed with commercial iconography, signage, symbols and text:

´Through bi-association of commercial and tragic imagery I present the relationship between sustenance and decadence, and also between life and death respectively. Anatomical parts of horses, bulls and birds are combined with man-made objects, such as guns and machines, sometimes morphing into unexpected mutations. Such parallels reveal the interconnectedness of life, death and the inanimate.'

This association aims to exponentially increase the tension between comparative forms, and blur distinctions between the familiar and the novel: skeletons and bloated flesh, barcodes and body parts, military insignia and domestic objects, all conjugate in his canvases (some of very large formats) to give us George 'Afedzi' Hughes' personal and violent vision of the World.