In 2007 Nancy spent time travelling in Ghana. Her initial aim was to document the extraordinary beauty of the country and its people; not in the exercise of a travelogue but in a deeper way, one rooted in dignity and formality. The project quickly took on a deeper aim, one of communicating a country saturated in shades of gold, and a landscape made for myth making. She says, “I was very interested in formality, a form of icon-making, of showing the stateliness of the trees and landscape. It struck me that the landscape was ‘good’ in a moral sense, that it served a purpose beyond looking pretty, that it was truly ‘magnificent’ – great, elevated and noble.”
Nancy’s Ghana paintings were shown in conjunction with her earlier Como works in the show Recent Paintings. Their colours and subject matter may have been in deep contrast but there is also a deep synergy, to do with light: in Africa it was solid, rooted and consistent, and many works were done at the most active times of day: sunset and sunrise when the gold light and heavy shadows create their own mythology. Como’s light may be ephemeral, flowing from fleeting moments, but the iconography of landscape is the same.