As part of his current research Larry Achiampong is interested in the mutations of traditions and language that are birthed as a result of colonisation, and how they affect people today. In particular, the relationship with Christian imperialism and its impact on his tribe - The Ashanti. Sunday’s Best, considers how belief systems within the diaspora are inflected by these colonial histories in the present day. The work is a confluence of the vivid sounds and images of praise and worship sessions in a Ghanaian community church married with the stark interiors of a Roman Catholic Church. Documented across a number of sites in London, Sunday’s Best maps out a narrative of coming to terms with the incongruence of faith practices that straddle western and non-western influences.
Larry Achiampong's solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and post-digital identity. With works that examine his communal and personal heritage – in particular, the intersection between pop culture and the postcolonial position, Achiampong crate-digs the vaults of history. These investigations examine constructions of ‘the self’ by splicing the audible and visual materials of personal and interpersonal archives, offering multiple perspectives that reveal entrenched socio-political contradictions in contemporary society. He’s currently artist in residence at Somerset House Studios (London) and is a Jarman Award nominated artist (2018). He completed a BA in Mixed Media Fine Art at University of Westminster in 2005 and an MA in Sculpture at The Slade School of Fine Art in 2008. He lives and works in London, and has been a tutor on the Photography MA programme at Royal College of Art since 2016. Achiampong currently serves on the Board of Trustees at Iniva (Institute of International Visual Arts) and is represented by C Ø P P E R F I E L D.