There is a physical quality to Amoako Boafo’s paintings that distinguishes them immediately within contemporary portraiture. His figures hold a composure that recalls the long history of painted portraiture, though the surfaces that describe them remain unmistakably contemporary. Skin is not brushed into being through careful layering of paint; instead, Boafo works directly with his hands, pressing pigment onto canvas with his fingers so that gesture and contact remain visible across the surface.
That decision emerged through experimentation early in his practice, though it has since become central to the way his portraits articulate presence and individuality. The technique allows the body of the artist to remain visible within the work, creating a direct correspondence between the act of painting and the depiction of the sitter. Boafo reflects on the method with clarity: “When I started painting with my fingers, I learned to trust myself and my process more and learned to love and appreciate my paintings differently.” The intimacy of that process continues to shape the works' atmosphere today.
The immediacy of touch gives Boafo’s portraits their distinct material character, though it also produces something more conceptual. Each painting appears aware of its own provisional nature, as if the image might still evolve in the presence of the artist. 'I developed a more intimate connection to my work,' he explains. 'My paintings that surround me look like I could always improve them, change or adjust them. It’s a reflection of my life, there is always room for improvement.' Rather than presenting identity as fixed, the paintings register identity as something in motion, responsive to experience and time.
“My paintings that surround me look like I could always improve them, change or adjust them. It’s a reflection of my life, there is always room for improvement.”
Boafo’s practice has continued to expand beyond the canvas, particularly in the spatial environments that have framed his recent exhibitions. His current exhibition in Los Angeles, presented at Roberts Projects in collaboration with architect and designer Glenn DeRoche of DeRoche Projects, extends this interest through an installation that reconstructs the physical architecture of his studio in Accra. The exhibition places a group of new paintings within this recreated environment, inviting viewers to experience the work within the spatial conditions that shape its production.
The decision to reconstruct the studio in Los Angeles is not a theatrical gesture. It reflects Boafo’s broader interest in collapsing the perceived distance between where art is made and where it is exhibited. The exhibition, therefore, functions as both presentation and translation, bringing the atmosphere of Accra into dialogue with the international gallery context. The approach builds on ideas developed in his London exhibition at Gagosian last year, where architectural intervention similarly framed the paintings and foregrounded the social and spatial context in which they were produced.
'By consistently strengthening my community through building spaces, networks and careers, I believe that many more will take the initiative to either build upon what I have started or create their own.'
Although Boafo’s profile has expanded internationally in recent years, the artist has remained based in Ghana, a decision that continues to inform both the psychology and the visual language of his work. His connection to place is neither symbolic nor strategic; instead, it operates as a daily framework through which relationships, community, and observation are sustained. 'I was born and raised in Ghana, so it’s only natural that I moved back to my base,' he says. 'Living and working here reminds me of where I come from, how continually inspired I am by my people, and how invested I am in building my community. This is reflected in what and how I paint.'
That sense of responsibility to place has also shaped Boafo’s growing involvement in initiatives that support emerging artists. Later this year, he will act as the inaugural mentor for the Maison Perrier Art Prize, an international competition designed to support new artistic voices through financial support, mentorship and a residency programme based in Accra. The prize includes a €40,000 award, a six-week residency and the opportunity for the selected artist to collaborate on a limited-edition packaging project.
Boafo describes his decision to participate in the initiative in practical terms, framing mentorship as an extension of the work he has already been undertaking within Ghana’s artistic community. 'I enjoy being the first one to do things; that was persuasive enough,' he says. The reasoning also extends beyond the symbolic value of the role. 'It’s important to invest in artists with money but also with time and resources. Working with Maison Perrier in that capacity is a continuation of what I’ve been fortunate to do over the past few years.'
Central to the programme is the decision to locate the residency in Accra, a move that reflects Boafo’s ongoing efforts to position the city as an active site of international artistic exchange rather than solely a source of emerging talent. Through initiatives such as dot.ateliers, the residency programme he founded in Ghana, Boafo has already begun developing structures that allow artists, curators and patrons to work directly within the local creative ecosystem.
'I think it’s important to invest in artists with money but also with time and resources. Working with Maison Perrier in that capacity is a continuation of what I’ve been fortunate to do over the past few years.'
For the artist, the intention is clear. 'I want Ghana to be part of the conversation when it comes to places of influences in the art world,' he explains. The ambition extends beyond recognition of talent. 'Ghana is a source of talent and, more importantly, a trusted source for such exchanges and collaborations.' In this context, the Maison Perrier residency becomes another step within a broader effort to develop the country as a meaningful point of connection within the global art landscape.
Boafo often speaks about legacy in terms that prioritise continuity over individual recognition. For him, the impact of a practice is measured through the networks, opportunities and institutions it leaves behind. 'Whatever is done intentionally serves the work of legacy,' he says. 'By consistently strengthening my community through building spaces, networks and careers, I believe that many more will take the initiative to either build upon what I have started or create their own.'
That perspective places his work within a larger framework that moves beyond portraiture alone. The paintings remain the most visible expression of his practice, though they exist within a broader system of cultural investment that includes architecture, mentorship and institutional development. Boafo’s figures continue to command attention through their presence and composure, yet the wider project increasingly centres on how that presence can translate into long-term support for artistic communities.
Applications for the 2026 Maison Perrier Art Prize close on 31 March 2026. Emerging artists can apply through the Maison Perrier website.