The Art of Protest
The Artist Eugene Ankomah on his passion for education.
Report Caryn Franklin
Eugene Ankomah, known as EA, is a fine art graduate of Central Saint Martins. London based but internationally renowned as visual artist with collectors of his static artworks including Dame Kelly Holmes, Dizzie Rascal and Chiwetel Ejiofor. His body of work, which includes magazine covers and multiple awards, has earned praise for his prolific, unique, and visionary approach to education. “I want to engage in encouragement and reciprocity with each viewer for their own special journey.”
“My motivation is quite simple. To reflect and make known what isn't always obvious.”
Through his Ghanaian/British heritage, EA channels this highly visual messaging instinctively reflecting and building a bridge between his identity and memories of his childhood in Ghana together with lived experiences as a Londoner to cover themes on race, self-identity, the state of fear for young people in contemporary Britain or even reflecting modern-day slavery in places such as United Arab Emirates.
“I use myself as a walking artwork or a walking canvas. Being visually striking is important to me.”
“One could call it ‘Protest art,’” says Ankomah; the current epidemic of knife crime in the UK being the focus of his latest work. “I use myself as a walking artwork or a walking canvas. Being visually striking is important to me. The concept and perception of the art jumps from the walls and into a living space, through me as a live presence. This physicality and movement occupies space, thought, and feelings in a powerful way. I feel my work also speaks of the self and the importance of our individual voice. And because I’m dealing with big issues. I also want my work to be humorous, surprisingly simple, and playful at the same time.”
“I feel my work also speaks of the self and the importance of our individual voice.”
One example of a current project is Re-Claim. A travelling installation project often created in collaboration with young people through schools, youth centers and the Pupil Referral Unit (PRU); with another commissioned by the Greater London Fund. Re-Claim will be on display at several locations in London this year, 2025.
“Inclusivity and collaboration with everyone becoming part of the art, works really well. Some of the children and young people I work with range between the ages of 11-24. They have been excluded from school, have medical needs or may have challenging behaviours. I want everyone to feel invested.”
“We come together with the aim of giving the participants a voice.”
Re-Claim acts as a democratic platform for it's participants to freely express concerns, experiences, and, very importantly, solutions
At the launch of each project, young people and volunteers are seen in CSI style outfits, interacting with visitors. They hand over roses as they walk amongst the audience who experience the powerful sensory led environment that includes the physical art, a soundscape, photos of young people, scattered on the floor, reclaimed and recycled material that has all been skilfully and meaningfully given a ‘second life’, a new voice - just like this opportunity afforded to the young people to be seen for who they really are.
“Volunteers from the community are a vital resource, and we come together with the aim of giving the participants a voice. In a world of deep suspicion and layers of misunderstanding for the causes of this terrible crime, Re-Claim acts as a democratic platform for it's participants to freely express concerns, experiences, and, very importantly, solutions they see fit, for the matter at hand.”
“Re-Claim is an ongoing project using art to reflect and be a visual mouthpiece for the youth and communities locked in the dangers, fear, and irrefutable devastating effects of knife crime/street crime.”
“I have received commissions through many sources and avenues. It's been through galleries I've shown in. Through Instagram, Facebook and other social media platforms. But also, through press profiles and also clients contacting me through works seen in collectors homes and other spaces.”
“The works shown below on Leontia Gallery are specifically part of my 'BW' (Brain Wave) series of ‘digital paintings’. An experimental raw approach to digital art, making use of brain scan imagery (to me a symbol of the mind’s power and activity) - as the trigger to each spontaneous image. However, I then build upon this to connect the images to familiar themes - on immigration, forgiveness, religion or beauty.”
Titles L-R The Miracle Performer, The Position, The Female of the Species, The Gods Were But Exhausted Until They Cried Jesus 3 Times.
”I have been, and still do get bored of the choices of clothing available for men. I felt the need to create my ensemble to speak my language.”
“I would say my visual style stems first and foremost from a deep love of fashion as a form of visual language in its own right. It can be dictated by the occasion, my mood, or my need to highlight a social or political issue.”
“I have been and still do get bored of the choices of clothing available for men. I felt the need to create my ensemble to speak my language. Helping to reveal (by my specific choices) what I really am and my cultural connections.”
“Some of my face paint designs (which I never repeat) have connections to Ghana. However, they reference and are inspired by the ancient ceremonial traditions of African as a whole.”
“And yes, I have an ever-expanding costume wardrobe filled with masks and accessories. I’m currently painting an umbrella in readiness for my next look.”
Contact Eugene Ankomak for more information here