Larry Amponsah

Location: 98 Hassett Road, London. E9 5SH
Website: larryamponsah.com
Bio:

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 calligraphy and he completed his Masters (MA 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).
About Amponsah’s final project at the Royal College of Art titled ‘Come Close, Look Closer... If You Want Moor of Me’, he explains: “This project has to do with my journey in search of the Self and a Voice as an artist coming form an African background. 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 of them? Is the obligation of artists to meet the expectations of an 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. My practice has grown to a level I’m very much proud of - a level where the works 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 its viewers. Unlike many artworks in history, this work does not impose ideas into people but rather it creates avenues for curiosity”.
In Larry’s works, viewers begin to look and see differently to realise the urgency to think about and change the instability of our systems and structures 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.

Exhibitions:

Selected Exhibitions
Solo
CV
MA Painting, Royal College of Art, London - UK
MFA Painting, Jiangsu University, Zhenjiang - China
B.F.A. Painting and Sculpture Kwame Nkrumah University of Science and
Visual Arts, Accra High School, Accra - Ghana
Kuenyehia Trust for Contemporary Art – Board Member (Trustee) International Personal Assistant, ENSafrica, London
Kuenyehia Prize for Contemporary Ghanaian Art
ArtXanadu Art Centre
BIOs
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 calligraphy and he completed his Masters (MA 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).
About Amponsah’s final project at the Royal College of Art titled ‘Come Close, Look Closer... If You Want Moor of Me’, he explains: “This project has to do with my journey in search of the Self and a Voice as an artist coming form an African background. 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 of them? Is the obligation of artists to meet the expectations of an 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. My practice has grown to a level I’m very much proud of - a level where the works 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 its viewers. Unlike many artworks in history, this work does not impose ideas into people but rather it creates avenues for curiosity”.
In Larry’s works, viewers begin to look and see differently to realise the urgency to think about and change the instability of our systems and structures 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.
19. 01 - 23.02. 2018 Imaginary Direction of Time, The Fine Art Gallery, Hoag Hall, CSU-Pueblo - USA
Group
17. 04 - 12. 05. 2018 East Wing Biennial 13 'SURGE'. Courtauld Institute of art, Somerset House, London
09.04- 19. 04. 2018 28.02- 28. 03. 2018 19.02- 27. 02. 2018 17.01- 19. 02. 2018 30.09- 31. 09. 2017 London
30.08- 30. 08. 2017 08.09- 15. 09. 2017 25.07- 31. 08. 2017 19.05- 21. 05. 2017 20.01- 22. 01. 2017 20.01- 22. 01. 2017 10.06- 08. 07. 2016 10.10- 10. 11. 2016 19.06- 17. 07. 2015
Workshop
Watch This Space, Darnley Gallery, The Centre for Better Health, London YOUNG GUNS, Sulger-Buel Lovell Gallery, London
Thumbnails, Hockney Gallery, RCA, London
PAST. Battersea Power Station, London
Bapor Tabo(o) for ART LICKS Weekend 2017. Old Ford Lock (Regent’s Canal),
6 PM 2017, Painting Studio, RCA, Sackler Building, London RCA SECRETS, Royal College of Art, London
Summer Show 2017, Sulger-Buel Lovell Gallery, London Open House CCA, Delfina Foundation, London
WIP Show RCA, Sackler Building, London
WHIP WHIP WHIP, Royal College of Art, Dyson Gallery, London
Annual Lecturers and Postgraduate Students Show, China
What is your local word for 'Smile'? ArtXanady's Pop-up Gallery, Labone, Accra The Gown must go to Town Exhibition, Museum of Science and Technology, Accra
28. 04 - 29. 04. 2018
Strand, London
20. 02 - 22. 02. 2018
Colorado State University, USA
25. 07 - 26. 07. 2017 24. 07 - 24. 07. 2017 10. 02 - 10. 02. 2017 07. 04 - 07. 04. 2016 01. 08 - 01. 08. 2015
Artist Talks
Going for it! Setting up a Creative Practice, Innovation RCA, London Getting the Right Job, Innovation RCA, London
Printing Workshop, Lithography. RCA
Dragon Boat Festival – Home for the Old, Zhenjiang-China
89 Plus Workshop by Hans Ulrich Obrist, Nubuke Foundation, Arrca-Ghana.
Inspiring through Collage. Department of Painting and Sculpture, Kwame Nkrumah
Technology, Kumasi
Growth of my Practice (artist talk), Gorvy Theatre, RCA, London
PAST, Battersea Power Station, London
About my Solo Show, Colorado State University, USA
Artist Talk and Tutorials with the students. University of Northampton, UK
Talk on Memory and Collecting: Open House, in conversation with Judy Price and
19. 02. 2018 University of
06. 02. 2018 01. 02. 2018 19. 01. 2018 22. 11. 2017 20. 05. 2017 Liz Thornhill.
08. 09. 2016 17. 03. 2016
Collaborations
06 - 09. 2017
09 - 15. 01. 2017 19. 11. 2016
Awards
2016/2017
Science
and
Delfina Foundation, London
Public Drop-In Collage Workshop, The Courtauld Institute Of Art, Somerset House, The Place of Collage in the History of Contemporary Art (Doing It Together),
My Practice. RCA Gorvy Lecture Theatre, London Contemporary art talk, Jiangsu University, China
Neighbours (Greece Project). With Evi Kalogiropoulou Brgy. South Kensington – Inventory London
Rhythmic Osmosis, Inventory London
Abraaj-RCA Innovation Scholarship