There's no Sun where I'm From, 2017

Mixed media collage (inkjet print, acrylic paint) on Somerset velvet paper 

120 x 200 cm


All work and photographs © Larry Amponsah

Larry Amponsah

  • About the artist

    To learn more about the artist, please click here

  • About the work

    '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.'

    Text provided by Larry Amponsah