In Dear Home of Scars, we see celebrated visual artist Ibrahim Mahama return to his hometown of Tamale in Northern Ghana to visit Red Clay Studio, a lively cultural centre and art space he founded, where he works on a new art installation involving old colonial railcars and the reconstruction of a stretch of track. During British rule of Ghana (1821-1957), the colonisers used trains to transport gold and other resources to the coast. Remnants of track now lie abandoned as silent reminders of this history of exploitation. They are ‘scars in the landscape’, in the words of Mahama. The project brings new energy and self-awareness to local residents. Meanwhile, Mahama reflects on his role as a sought-after artist and builder of local communities.