Collecting Stories: The Wright Way
Founded with the principles of access and community, CURA Art utilises a broad network and expertise to support collectors with all aspects of managing their passion and investment.
Whilst many of the collectors we know and work with choose to remain private, several have generously allowed us to share their stories with you, to inspire others and encourage open discussion on the role of the collector in the 21st century. The aim of the Collecting Stories series is to de-mystify the world of collecting, but also represent the many different approaches to acquiring and patronising the arts.
Collecting is so much more than amassing beautiful or interesting works of art and objects; collectors have the opportunity to invest in the future and document the past and present – through this series we hope to bring this to light.
Drs Ato and Tonya Wright met at medical school whilst training to be a Radiation Oncologist and Obstetrician Gynaecologist respectively. Having been born in Accra, Ghana, Ato moved to the United States, age 13. Tonya was born and raised on the British Caribbean Island of Anguilla. Together, they enjoy travelling and appreciating art and music with their three sons.
Ato and Tonya’s collecting is intertwined with their familial and professional lives, their tagline being - ‘living with art in the home’ - and focuses on supporting and uplifting artists of the African diaspora. They go about collecting with purpose and integrity, sharing their journey through exhibitions and other initiatives and fostering a supportive arts ecosystem on a global scale. In 2021, they were featured in the Larry’s List Next Gen Art Collectors Report.
As advocates for responsible collecting, their approach speaks to both the very personal experience of refining your own aesthetic, but also the power of collective change through combined effort. We were honored to speak with them earlier this year and share their story with you here.
You can keep up to date with The Wright Art Collection here.
Image: The Drs. Wrights with “Emotional Curfew”, 2019 by Kojo Marfo © Connie Hobbs.
When did your interest in art begin? Were your family collectors or art enthusiasts?
Ato: I have had an interest in art since I was a child and I credit my mother, Penelope and my uncle and namesake Ato Wright for encouraging and fostering my interest. I have fond memories of visiting the Accra Arts Center as a kid, a cornerstone of arts and crafts in the capital city of Ghana. Growing up with my mother and grandparents, there were old carvings and artifacts in the household that were generations old. My family were definitely art enthusiasts. The stories about the origins of these pieces have been and continue to serve my understanding of those who came before me. My mother helped to create opportunities to learn from family friends who were artists and often encouraged me to participate in art competitions as a kid.
Tonya: I have always loved and appreciated art and was very much the “creative” kid in the family growing up. I enjoyed artistic expression through photography and remember asking for a “fancy” camera as a very young child. We were surrounded by the performing arts; singing, playing musical instruments and dance but it wasn’t until I met and married my husband Ato, did my passion for the visual arts expand.
When and why did you start collecting?
After completing our medical training in our respective specialities, we moved to New Orleans to start our careers. It was there that our collecting journey began. What started as a mission to beautify our living space, grew into passion to document our history and culture through artistic expression.
Image: Gene Pearson Sculpture (origin Jamaica) and beaded African face masks (origin Ghana) © Connie Hobbs.
Tell us more about how you discover the artists you work with?
We discover artists through social media, through our travels and by attending art fairs and exhibitions, and through engagement with like-minded friends and art enthusiasts we have met over the years. We have a focus on artists of the African diaspora. In doing so, it is very fascinating to see the stories told by these artists who currently practice in various parts of the world and to witness the many ways that their African origins shape their story-telling in their respective environments.
We know that you have relationships with many of the artists that you collect, could you expand on this and why you feel it’s important?
As collectors, we are also advocates and patrons of the artists’ practice. We believe that it is important to be a part of the artist's journey in a way that is authentic to both parties. Maintaining a relationship with artists allows us to support their practice.
Do you feel like a custodian for the works of art?
Yes, we cherish the opportunity to be part of the stories of the various artists we collect and help all the artists we collect to be a part of history.
Do you feel a responsibility towards the artwork and the artists?
We do feel that it is important to collect in a manner that adds value to an artist's career.
Image: Kayla Mahaffey “Beautiful day in the…”, 2021 © Connie Hobbs.
Tell us about the initiatives you organize for/with artists outside of acquiring their work:
As we’ve grown as collectors and in our understanding of art as a unique tool for storytelling, we’ve found ways to combine art and advocacy. Studio visits serve as a way for us to experience the artist in their element. Additionally, through exhibitions and saloons, we’ve been able to help raise awareness and money for different causes, such as the Lymphoma Leukemia Society and The African Millennium Foundation. We’ve established a non-profit foundation and plan to expand our efforts in advocating for underrepresented artists with new and innovative ideas and collaborations.
What advice do you have for fellow collectors?
We find joy in collecting. Sometimes Art can complement aspects of our careers and sometimes it serves as an outlet. As an oncologist, I was very proud to use art related event to raise funds for the Lymphoma Leukemia Society. My advice to fellow collectors is to determine your “why” and let that guide your collecting practice.
Image: Left: Izere Antoine, “Fabiola’s Fantasy II“, 2023. Right: Top; Synthia Saint James “Our Grandparents” 1996. Right: Middle; Emmanuel Gillespie “Temporary Freedom Mini“, 2023. Right: Bottom: Synthia Saint James “Young Mom and Dad” 1996. © Connie Hobbs.
Which artists are on your wish list right now?
Ronald Jackson, Barkley Hendricks, Amoako Boafo, Richard Mayhew and Ibrahim Mahama.
Do you have any dream projects you’d be willing to share with us?
We are currently working on a benefit exhibition to be held in October, to bring awareness to the maternal mortality crisis in the United States. Unfortunately, the United States ranks last amongst wealthy nations when it comes to maternal deaths and even more disturbing is the fact that Black women are at the highest risk for adverse outcomes, at 2-3 times the rate compared to Hispanic and White women. With this exhibition, “It’s True, I Was Created In You,” we’ve commissioned 30 international artists of the African diaspora to create works to highlight this cause.
Image: Kwesi Botchway, Untitled, 2022 © Connie Hobbs.
The goal of the exhibition is multifold; to celebrate motherhood, bring awareness to the Black maternal health crisis, and to generate money through the sales of the artworks, to establish a fund/endowment in the Obstetrics/Gynecology Department at Penn State where Tonya serves as the Chief of the ASOG Division.
If you could own any work of art, from any time, and irrespective of cost, what would it be?
A sculpture by Vincent Akwete Kofi.
What do you envisage or hope for with regards to the legacy for your collection?
Our mission is to use our art platform to improve the visibility of underrepresented artists in the contemporary art world and to catapult more of our friends into the collector realm. Artists are integral to the preservation of culture and in order to preserve the cultures of the African diaspora, we need collectors and custodians from the culture and beyond, who can genuinely enjoy the stories. On the flip side, it helps the artists careers.
Image: Forward: Richard Atugonza “Confidence 2”, 2020 and
Back: Alex Peter Idoko “Lost in Yesterday”, 2020 © Connie Hobbs.
Thank you to The Wrights for sharing their story with us!
Image: The Wrights with Richard Mensah, “Queen Nanny”, 2021 © Connie Hobbs.