Artist Amoako Boafo celebrates black identity
They say the sky’s the limit, but with Amoako Boafo, it’s outer space. In early August this year, the Ghanaian self-taught artist was commissioned to paint a new art piece titled Suborbital Triptych on three panels of the Blue Origin New Shepard rocket ship (the new Jeff Bezos-founded project) – making Amoako Boafo the first black artist to do so. Only a few years back, the Accra-born, Vienna-based artist was trying to sell his artwork for $100 per painting to support his family. Fast forward to today, Amoako Boafo is arguably the most sought-after contemporary artist of our age. In 2019, Dior Men’s Kim Jones approached the 36-year-old artist to collaborate on the Maison’s SS21 collection. Amoako Boafo has had a steady rise ever since.
Expressionist paintings inspire his work. His delicate finger-painting technique adds texture, cultural nuance, and a personal modern twist. His work carries soul and requests you to look at the complexity of African diaspora and black identity. The communities that have long been marginalised are the essence of his work. By documenting the rich stories of Africa through his bold aesthetic, Amoako Boafo creates a frame of celebration, and a mirror to his black community that is found in Ghana, Vienna, and the rest of the world.
What I love most about your artwork is your technique of painting the skin of your subjects with your fingers. It has become synonymous with your work. How did that become your style, and how significant is it to you?
I have explored many technical and figurative expressions of skin tone and movement, realising my process is best embellished when I paint with the fundamental tool known to man, the finger. The hands and faces of the buoyant figures in my works have been finger-painted. This lack of instrumental barrier allows me to create freely and achieve an expressive skin tone that I would not otherwise achieve with a brush. I love that this seemingly simple motion generates such intense energy and allows me to unveil these sculptural figures, which I love. The lack of control I have with using my fingers is organic, and that shows through in the abstract forms that create the beautiful skin of my subjects. I can literally say it is the work of my hands!
Who, or what would you say is the source of your artwork? Are they people you paint from memory?
The source of my artwork is capturing the essence of friends, close relations, and people wh0 I admire from the community with beautiful stories and creative ambitions. It is also to document the captivating lives of those who have not been included in art history. I always complete the artwork in my mind first. After identifying a character, I always complete the artwork in my mind before picking a canvas or paper to work on; I guess I do paint from memory in that sense.
Who and what are your inspirations?
I get a lot of inspiration from Gustav Klimt and Maria Lassing. Egon Schiele’s style also inspires me; how he paints figures, his playful brushstrokes, and his colour application.
What sparked your interest in art and painting?
My interest in being an artist came from my experimentation with drawing when my friends and I would usually compete in painting as a game when we were teenagers. But being an artist was not considered an acceptable career in my community and as a Ghanaian. My career only really began when I decided to go to an art college in Ghana and then to Vienna to study further for my master’s degree.
How would you describe the experience of working as an artist in Ghana versus Vienna? Given that you moved to Vienna, was it easier to establish yourself as an artist?
While in Ghana, I was mainly painting children because that reminded me of how I grew up. In Vienna, that had to change because I couldn’t relate to how children interacted and played, so I started painting portraits. Since there were only a few blacks in Vienna at the time (and even now), I felt the need to paint the black community and provide the representation we didn’t have there. People often asked why I only painted blacks, and many of them advised me to change the context of what I painted if I was to succeed. That was difficult – choosing to paint like every other artist to be accepted and successful or to forge my path as an authentic artist. I decided to stay true to myself and paint black subjects more to elevate my community in a powerful way.
How is the art scene different between Ghana and Vienna? How does the public perceive your art differently?
Quite different. I appreciate Vienna’s art scene for its energy. There are more art galleries and a lot more collectors who support and invest in the art world, keeping it vibrant. There are also more suitable structures and infrastructure to ensure the growth and sustainability of artists in Vienna unlike what we currently have in Ghana.
What is it like being a part of the African diaspora? Would you say you might have created a different form of art if you stayed back in Ghana?
Absolutely. Going to Europe opened my eyes to the art world and to seeking further possibilities of what I could do with my art career as an African in the diaspora. However, being back in Ghana now, the creatives and characters around me further inspire me.
Your art documents and celebrates black identity. What would you like to change in society through your art?
My work seeks to portray blackness in all its positivity and support and create opportunities for other creatives like myself to also succeed in their chosen fields. Through my art, it is becoming more evident that everything is within our reach when we rise above perceptions that hold us back, work hard, persevere, and keep believing in ourselves as a society.
I’d love to hear about your experience with Dior Men with regard to the SS21 collaboration. How does it feel to have your art presented to the world on that scale? How important is that moment was for black artists?
My experience collaborating on the Dior Men’s collection for the 2021 couture show has been mind-blowing. The fashion and art world are similar in their creative venture, in their craft, to convey genuine messages about being and self-worth, much of which aligns with why I create artworks: to elevate individuals and define oneself. I can’t say this type of experience would happen with all brands, but with Dior Men, it has been a true collaboration that has opened up the conversations about more collaborations with black creatives.
[Via GQ Midde East]