Bernard Akoi–Jackson is an academic, artist, and writer known for projects that exist in a state of continual metamorphosis. His practice is largely performative, often taking the form of pseudo-rituals that explore identity, memory, and transformation. His writings examine the development of contemporary Ghanaian and African visual arts and culture, expressed in a style that is both poetic and playful.

Often described as a proverbial jester—or Esu—Akoi–Jackson employs critical absurdity as a tool to navigate and connect multiple artistic forms, including installation, dance, poetry, video, and photography. His work engages postcolonial African identities through transient and makeshift memorials, challenging conventional narratives and modes of representation.

He attended Presbyterian Boys’ Secondary School for his secondary education and holds a Bachelor of Fine Arts, Master of Fine Arts, and PhD in Painting and Sculpture from the College of Art and Built Environment at Kwame Nkrumah University of Science and Technology (KNUST).

In August 2006, he undertook his first residency at Kofi Setordji’s ArtHAUS, where he developed REDTAPEONBOTTLENECK as a participatory performance project. He later held residencies at the Stedelijk Museum as a Global Artist-in-Residence (2013–2014), and at the Thami Mnyele Artists’ Residency in Amsterdam.

Akoi–Jackson is currently a lecturer at the College of Art and Built Environment, KNUST. His work is also featured in the book Selling Healing (Cambridge University Press, 2025) written by Professor Ama de-Graft Aikins, which explores creative arts and health communication in Ghana.