Mesa decorativa de madera, "solo temo a dios"

Through NOVICA sales, George has been able to pay for his children's education and watch them grow up to become successful in their careers. Although he no longer needs to support his children, he still provides for his granddaughter and his wife. Every order makes an impact on Georges' life because it helps him care for his sweetheart as she recovers from her stroke.

George creates all of his works with the mission to preserve, promote, and develop. His desire to preserve can be seen through the locally sourced wood he uses and his apprenticeships where he teaches traditional techniques and assist carvers in learning new skills. He promotes and develops his designs through his incorporation of ancient symbols and storytelling into more modern carvings. He hopes his success and designs encourage future generations to practice carving and learn about their ancestors.

George was one of NOVICA's first artists in West Africa. Although a sustainable income is important to George, his main goal is to share his gift with the world. He sees the sales as a form of appreciation to this gift. In George's view, the appreciation from his art has been growing every year as he sells more and more of his African wood carvings.

In 1981, George's wife had two ectopic pregnancies. They survived financially with the help of George's income from NOVICA and were able to recover as a couple and a family. In 2018, George's wife suffered from a stroke and now the couple is using his NOVICA income to cover her medical bills as she recovers.

George has trained several people who are now able to support themselves and their families. George also hired two of his former apprentices to be his associates to enable him keep up with the volume of his orders.

George Obeng has received 3 microcredit loans with 0% interest from Kiva and Novica, the first for $1000 and the most recent for $1000. Proceeds were used to purchase new tools and equipment for his workshop.

This artist is an elder master and continues to actively practice their craft.

George's work was featured in the newspaper Spectator on April 12, 1986.