Larry Amponsah

Larry Amponsah (b. 1989, Accra-Ghana) is a multi-media artist whose practice investigates traditional modes of image-making whilst employing unconventional strategies of production to look at the contemporary politics of imagery. He received his MA in Painting from the Royal College of Art, London (2018) after studying for an MFA in Chinese Traditional Painting at Jiangsu University China (2016) and gaining his BFA in Painting at Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, Ghana (2015). Larry is currently a Trustee of The Kuenyehia Art Trust in Ghana, shortlisted for the 2019 Young Masters Art Prize, he is also shortlisted for the 2019 Dentons Art Prize and recently won the Be Smart About Art Award in 2019.


Amponsah, traditionally trained as a painter, creates collages made of archival images, objects, and stories from various cultures in order to negotiate systems of power and create new ways of transcending boundaries. His interest in collage emerged from an early fascination with Ghanaian calendars, which are often stacked in many layers upon each other, year after year, in distinct contexts such as homes in less privileged communities and market stalls run by petty traders. Throughout his travels and upbringing across Ghana, Amponsah continued to perceive this need to collect, layer, and collage – a gesture of gathering not only images, but also historical documentation and socio-political reflection. Anything from political leaders and cultural festivals to popular advertisements and natural phenomena may grace the pages of these calendars, and thus their contents become at once accessible yet also reverential within the layers of their hybrid print hanging-cum-archive. Amponsah has since continued to embark on his own journey of collecting pictures and narratives, nurturing a creative practice where curiosity, chance, and conversation become modes not only to survive, but moreover, to thrive.








When A stone Cracks We Don’t Stitch (curated by Katherine Finerty), 50 Golborne Gallery – London, UK               

The Open City of Many Gods. Billboard Project - Bloc Projects – Sheffield, UK



Imaginary Direction of Time, The Fine Art Gallery, Hoag Hall, CSU-Pueblo - USA



A Collective Intimacy (within Theaster Gates’s installation Black Image Corporation) presented by Prada, The Vinyl Factory & The Showroom – 180 The Strand – London, UK                      

1:54 Contemporary African Art Fair, Group Exhibition, 50 Golborne Gallery, London

Young Masters Art Prize, Shortlist Exhibition, London

DEAR, Dyson Gallery, Battersea, London

Of Hosts & Guests. Open Space, Pushkin House - London

FBA Futures Exhibition 2019.  Mall Galleries, London



Final Degree Show, Royal College of Art, London

East Wing Biennial 13 'SURGE'. Courtauld Institute of art, Somerset House, London

Watch This Space, Darnley Gallery - The Centre for Better Health, London

Rising Above The Noise and Confusion, Dyson Gallery Battersea, 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), London

6 PM 2017, Painting Studio, Royal College of Art, 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, Royal College Art, Sackler Building, London

​WHIP WHIP WHIP, Royal College of Art, Dyson Gallery, London


Annual Lecturers and Postgraduate Students Show, Jiangsu College od Art Galley - 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​

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