"The cast, after all, is a trace, an indexical sign, which retains a profound physical connection to the object from which it is taken. This direct connection is visible not only in the skins’ registration of the identity and texture of the surfaces from which they were modeled, but also in the ways in which they record the three-dimensional nature of their mold: in the scabrous buildup that accumulates wherever the skin encounters a bump or a corner and especially in the simple lattices, made of slender bamboo poles, that Bucher used to give her skins the degree of relief necessary to negotiate inset paneling or the depth of door frames"

Mahama’s interest in material, process and audience first led him to focus on jute sacks that are synonymous with the trade markets of Ghana where he lives and works. Fabricated in South East Asia, the sacks are imported by the Ghana Cocoa Boards to transport cocoa beans and eventually end up as multi- functional objects, used for the transportation of food, charcoal and other commodities. "You find different points of aesthetics within the surface of the sacks’ fabric", Mahama has said. "I am interested in how crisis and failure are absorbed into this material with a strong reference to global transaction and how capitalist structures work."