Vincent Frimpong: Selected works, 2019-2025

2024-2025

2019-2023

Throughout my life, I’ve been exploring the question, ‘What does it mean to be an African?’ Affirming the core of African power within myself and others permeates everything I do and represent. My objects and installations at once draw upon my history and simultaneously comment on the present. I have embraced mixed media processes to express and explore ideas regarding the richness of African history and pressing contemporary concerns addressing where we come from, where we are, and where we are going.

I use mixed media installation to create a space that allows for open dialogue between the audience and the space utilizing elements of Ghanaian culture and the human hand as a tool to explore the idea of what it means to be an African. As a concerned artist, I see, feel, analyze, and make work to examine these realities. I am influenced as an artist by what I have been through since childhood, recollecting the memories and experiences throughout my life. At the same time, I elaborate on why they are significant to me specifically

I want my work to draw audiences to experience the richness of some aspects of African culture and their relevance to our contemporary world. I desire to make sculptural installations that communicate ideas to make viewers recognize that what people think they know is not always the whole truth.

Captions

Power Within, 2024, Ceramics, Resin, Found object, Wood, 10ft x 8ft x 10”, Photo: Larissa Frimpong
Where No One Stands Alone, 2024, Porcelain on Wood, 12ft x 8ft x 14”, Photo: Larissa Frimpong
My two eyes only, 2024, Stoneware, Wood, Resin, Motherboard, 24” x 24” each, Photo: Larissa Frimpon
Dehyie, 2025, Stoneware, found objects, resin, wood, 72” x 72” x 7”, Photo credit: Larissa Frimpong
City Boys, 2024, Stoneware, Lithonia lighting sheet, Wood, Cog and Chains, 45” x 195” x 20”. Photo: Larissa Frimpon
Intransigence, 2025, Porcelain, acrylic sheet, 15ft x 10ft x 7”, Photo credit: Drew Nikonowicz
Re-entry, 2025, Porcelain, resin, wood, 24” x 30” x 30”, Photo credit: Larissa Frimpong
Americana, 2022, Stoneware, tire, wood, wire, 30” x 30” x 5”
Oil on my head, 2023, Stoneware, wood, copper wire, zippers, 40” x 40” x 5″
Bearing Arms, 2022, Stoneware, fly whisk, 27” x 17” x 10”
Return of Kwaku the Traveler, 2023, Stoneware, beads, wood, metal, 40” x 65” x 15”
1957, 2023, Stoneware, TV, metal, 60” x 43” x 30”
Half and ½, 2023, Ceramics, resin, found object, wood, 4ft x 5ft x 5”
Obaa sima, 2023, Stoneware, tire, 60” x 60” x 20”
Ahocden, 2019–2021, Stoneware, rope, 60” x 72” x 72”
Blood Capsules, 2019–2021, Stoneware, fabric, metal, 38″ x 84” x 35”
Cultural Semiotics, 2019–2021, Stoneware, beads, yarn, 46” x 15” x 5”
Entanglement, 2019–2021, Earthenware, fiber, 48” x 36” x 30”
Faces of Africa, 2019–2021, Stoneware, metal, fly whisk, wood, 70” x 15” x 20”
Take me home II, 2019–2021, Stoneware, metal, wood, 50” x 22” x 30”
The Town Invite, 2019–2021, Stoneware, 35” x 12” x 10”