Larry Amponsah

MA work

This project has to do with the my journey in search of the Self and a Voice as an artist. What is the role of art in this Contemporary era? Can art assume Power and still empower those who have none? What does it mean to be an artist in the Now and what is expected them? Is the obligation of artists to meet the expectation of a audience who have been conditioned to experience art within a carefully controlled canon? These are the questions that led me through various processes to this point of arrival. This work transcend meaning and functions of materials, extend cultural boundaries, challenges our understanding of space and time, and rephrases the meaning of Painting as imposed within the discourse of Art. Historically, scholars and practitioners have used Painting to represent Things... but contemporarily, I think it is important to also consider the need to use Things to also represent, investigate and interrogate what a Painting is or if one likes... can be. The Installations of this project has been deliberately constructed for audience to witness how Power in art can be equally divided and shared between a work of art and it's viewers. Unlike many artworks in history, this work does not impose ideas into people but rather it creates avenues for curiosity.

Info

  • MA Degree

    School

    School of Arts & Humanities

    Programme

    MA Painting, 2018

  • Larry Amponsah is a contemporary artists devoted to working in collage and pushing the idea of collage making as means or platform through which he achieves his artistic ends on the international level. Born on the 11th November 1989 in Ghana and now living and working in London, Larry studied BFA Painting at the Kwame Nkrumah University of Science and Technology, proceeded to Jiangsu University in China to study Chinese Traditional painting and calligraph before his MA in Painting at the Royal College of Art in London.

    Amponsah’s practice mainly is about the use of archival images and materials sampled from various cultures to attempt to solve the unresolved questions of representation in the history of Art by employing Collage as a point of departure to create compositions of entities in spaces and spaces in entities, to tell fictional stories that deal with issues on a global platform and in doing so, the works create and take up positions in our contemporary Globalised community. The entities created are not just figures, as they become monstrous, grotesque-like yet not off-putting vessels or containers for ideas that lead or transcend viewers into a certain kind of space (the now-here but nowhere, yet from everywhere), in which they begin to look and see differently to realise the urgency to think about and change the instability of our systems and structures and on which our Identity is built. With disrespect to all forms of boundaries and classifications, the works suggest our mode of survival and create avenues for critical reflections.

  • Degrees

  • BFA Painting, Kwame Nkrumah University of Science And Technology, Kumasi. 2015
  • Experience

  • Board Member (Trustee), The Kuenyehia Art Trust, Ghana, Current; Assistant Curator, Kuenyehia Prize for Contemporary Ghanaian Art, Accra, 2016; Public Drop-In Collage Workshop, The Courtauld Institute Of Art, Somerset House, Strand, London, 2018; The Place of Collage in the History of Contemporary Art (Doing It Together), Colorado State University, USA, 2018; Dragon Boat Festival – Home for the Old, Zhenjiang-China, 2016; 89 Plus Workshop by Hans Ulrich Obrist, Nubuke Foundation, Arrca-Ghana, 2015
  • Exhibitions

  • Imaginary Direction of Time, The Fine Art Gallery, Hoag Hall, CSU-Pueblo - USA, 2018; East Wing Biennial 13 'SURGE'. Courtauld Institute of art, Somerset House, London, 2018; Watch This Space, Darnley Gallery, The Centre For Better Health, London, 2018; YOUNG GUNS, Sulger-Buel Lovell Gallery, London, 2018; Thumbnails, Hockney Gallery, RCA, London, 2018; PAST. Battersea Power Station, London, 2018; Bapor Tabo(o) for ART LICKS Weekend 2017. Old Ford Lock (Regent’s Canal), London, 2017; 6 PM 2017, Painting Studio, RCA, Sackler Building, London, 2017; Summer Show 2017, Sulger-Buel Lovell Gallery, London, 2017; Open House CCA, Delfina Foundation, London, 2017; Annual Lecturers and Postgraduate Students Show, China, 2016; What is your local word for 'Smile'? ArtXanady's Pop-up Gallery, Labone, Accra, 2016; The Gown must go to Town Exhibition, Museum of Science and Technology, Accra​, 2015
  • Awards

  • Winner, Abraaj-RCA Innovation Scholarship, 2016/2017