© by 2017 AMARTEY GOLDING

From a young age Amartey came to realise the potential inherent in his mixed heritage background in a world arbitrarily organised into various cultural domains. In a landscape of ethnic inheritance, he soon adopted the role of the observer. Tending to observe the negative aspects of other groups within himself.

 

Rearranging images from the Internet to inform his drawings of scenes and characters from his mythological story of GABOSIA, Golding creates a cultural commentary, a dark comedy of mankind’s unavoidable obsession with manipulating reality.

 

Amartey's very rare use of any colour other than black on raw canvas and simple monolithic compositions create stark aesthetics and quietly dramatic works. Lines between life and death; the malevolent and benevolent are disregarded. Bodiless heads laugh hysterically on the ground, oblivious to their situation. The instantaneous impression of a woman and her child’s vulnerable gaze changes into an intimidating stare redefining the viewer as the victim. William Bouguereau’s naked Byblis pleads at the feet of Tom and Jerry’s unforgiving yet subservient Mammy two shoes bringing issues of race and gender into question.

 

The rendering and portrayal of these scenes is simple and unassuming, Amartey’s stark figurative draftsman ship and Google derived imagery is oblivious to the fact that the scenes depict impossible situations.

 

In his seminal work GABOSIA, Amartey Golding embarks on a polemic, challenging the foundations of the world’s maladies, by redefining the dogma and myth-making, that has underpinned the human condition. Exploring the contexts from which present conflicts have arisen, Blueprints such as the mono-myth/heroes’ journey and history are investigated and challenged, in an attempt to find a new template for a parallel truth. Fully aware that the idea of changing the world falls perfectly within the fallacy of such narrative discourses, Golding embarks upon this journey conscious of the fact that in doing so, he has become a minion of the very beast he set out to slay. 

 

By this same token, Golding becomes the embodiment of this problematic scenario, aiming to place himself at the crux of these issues to observe and explore the flaws inherent in the human condition.

 

Shown frequently in the Middle East and Europe with solo exhibitions in Dubai, Germany and Denmark, his artwork graces private collections around the world.