Eugene Ankomah

Interview by Visual Collaborative
September 2020 6 min read

Eugene Ankomah is a British-based contemporary and visual artist of Ghanaian descent. He headlined our Washington D.C event in autumn of 2011. As a feature in our Eta Carinae interview series, Ankomah talks to us about the evolution of his work, possible collaborations, what inspires his artistic expression, and shares a perspective of the art scene in the United Kingdom.

(VC) What music are you streaming or listening to at the moment?

(Eugene) I have been paying more attention to South African contemporary artists like Master KG and Nomcebo. I feel like I’m catching up on what’s going on in that part of Africa and its music. On the other hand, I’m either listening to Miles Davies Kind of Blue Album repeatedly or listening to classical music by Verdi, Handel, or Beethoven, especially when I’m creating.

(VC) The world of commerce and the market places operate from the human brain’s left side, especially with its interactions with the creative sector. How do you navigate this reality as an artist?

(Eugene) Yes, that is true. As an artist, I’m fully aware of commerce and the marketplace, but it is not something that I overthink about. My approach is quite straightforward. I have been working and creating for a long time and of course developed a strong collector base, most of who watch and keep their eyes and ears on what I do. Sales and collections come from all over the place, from expected and unexpected sources. Through social media, my website, direct email, and even through the recommendation of friends and other collectors who own my work. Then of course there is the gallery system. One is not more important than the other in my opinion. But it’s more exciting when another person or follower of my work recommends a new collector to my work.

(VC) Your collection was featured at our Visual Grandeur Washington D.C exhibit in Adams Morgan. It was received well among other artists and attendees. How does that make you feel, and would you ever show in Washington again?

(Eugene) The Washington DC show was really cool. I did hear back some encouraging and positive feedback, especially as I had chosen to show my known project at the time – The Blacked Out Portraits. It felt great that the pieces shown had translated positively across the pond with the US audience. I will love to show in Washington DC again. I’m sure it’s just a matter of time.

(VC) Everyone has a distinctive fingerprint with creation. What is your best method or preparation ritual of choice for what you consider your best work?

(Eugene) This is an interesting question [Eugene exclaims]. Many people who know about my works, especially those who have been following me for a long time would agree that my audience have their favorite projects of mine or favorite “periods”. Just purely due to the ever-changing nature of my works, it is in a way quite difficult to pinpoint the ‘best method’ or ‘best work’, just because I’m often specifically inspired and charged by different themes that either concerns the human condition or something of an immediate emotional pull, I would have to reference either my Cover-Upp paintings or
one of my current projects Re-Claim, which deals with young people in the
UK and knife crime.

I truly and firmly believe in the reality every artist/creator has an inner unique voice waiting to be let loose, even if they do not know it yet. It is important that you continue to question and challenge what has come before

I have a ritual when creating almost all my projects. Dressing up, for
example in a white overall, the CSI ( Crime Scene Investigation) type outfit, coupled with gloves and a mask. It somehow brings a performance aspect to my approach to painting, but most importantly, it somehow allows me to assume a role that frees my mind and my imagination to really create.

(VC) As a Black man in the creative arts who have achieved numerous
accomplishments, what can you candidly tell the aspiring young artist about success and commercial risk based on your experiences?

(Eugene) I truly and firmly believe in the reality every artist/creator has an inner unique voice waiting to be let loose, even if they do not know it yet. It is important that you continue to question and challenge what has come before. Even the aim to break the rules if necessary [Eugene exclaims]. It is important that aspiring artists continue to reflect their own growth and experiences in their work. This mainly comes through experimentation. Do not be afraid to let your “current self” reflect in your work, even if it means your work comes out looking different from what the audience expects. Keep being honest and keep working and never stop [Eugene exclaims].

(VC) Outside of the obvious Covid-19 social distancing realities, considering your current commitments, if you could work alongside any notable personality, curator, or creative enterprise. Who would it be, and why?

(Eugene) I would love to set up my ambitious and touring exhibition/Installation ‘Re-Claim’ at the Tate Modern. A lot of people who have visited the installation have suggested that it needs that kind of space and larger audience interaction. In that respect, I would love to collaborate with curator Hamza Walker, whom I think would understand the power of my vision.

(VC) Some mention different historical times as a period they admire for affluence or culture. If you can time-warp to any era to collaborate with its culture, what period would it be and why?

(Eugene) I grew up studying the works of Renaissance artists and wanted to be a “historical” painter or artist. I actually created some works in my early teens inspired by that period. I loved the portrayal of dramatic biblical stories by the great artists of that time. For that reason, I would love to transport back then, however, I would add much more Black people within my compositions [Eugene smiles].

Secondly, I would love to head back to the beginning of the twentieth century and around the time when Europe discovered African art and its influences within paintings of Picasso, Matisse, Braque, and others. I think I would enjoy adding my own inventions and twists to how the African influence was presented in the art of the time.

(VC) Eugene, thanks for your time. Is there anything about the art scene in the United Kingdom you would like to share with our global audience?

(Eugene) My pleasure. The UK art scene is still quite eclectic and beautifully so. It is a great mix of a lot of conceptual art, but also street art and even outdoor installations and not least a very exciting Performance Art movement with a lot of interesting “dressed up” characters and personas. It’s ever-evolving and a great education for all who want to see unification, open-mindedness, and radical daringness [Eugene exclaims].