The work of Kofi Kayiga offers the viewer an invitation for a spiritual experience. Kayiga himself describes his work as being the outer expression of an internal dialogue with the spirit. The art historian, Edmund Barry Gaither, has compared Kayiga’s work to that of a houngan, or Haitian Vodou priest who draws veves or spiritual symbols on the floor of the temple to invoke the spirits. Kayiga also draws, paints, scribbles and scratches (to manipulate the surface of his work) on the floor of a studio, an apartment or anywhere that provides a surface to create. Kayiga’s work is a reflection of all of his travels and extensive training in Jamaica, the United Kingdom and Uganda. Kayiga’s postgraduate work in Uganda resulted in not only a name change but a profound life change, where he confirmed the importance of Africa in his life and work.  Kayiga spent six years researching the African retentions and Maroon culture in Jamaica during the late seventies and early eighties when he was the chair of the painting department at the Jamaica School of Art. His work has been included in many important scholarly publications on African American art.  He has exhibited extensively in the United States and was most recently in the Back to Black show at the White Chapel Art Gallery in London. Kayiga is a professor at Massachusetts College of Art and an artist-in-residence at Northeastern University.

“I work from an internal reservoir, a spiritual source I can always tap into.  The paintings are already done internally in that non-physical realm; I simply bring them into the physical…I can always find freedom and love and joy and compassion in my work. Sometimes I am in awe of what is expressed through me.” I feel strongly that Jamaican art is essentially African. Jamaica to me is an extension of Africa.”