On Ghana And Youth Culture: Inside David Nana Opoku Ansah’s Tender Portraits Of His Homeland

Africa’s cultural scene has birthed some of the world’s most famed creatives over the years: From music to fashion, the arts to the entertainment industry, reference points thrive aplenty. Now, ready to take centre stage is Ghanaian photographer David Nana Opoku Ansah, whose emotionally-charged photographs celebrate the influx of his country’s community and enticing heritage. Hailed as one of the most talented, ground-breaking artists of Ghana, his images are indisputably oozed with feel-good energy, showcasing a tender layer of emotions making their presence known. Ansah speaks about why youth culture and freedom are important to him, stating, “I always want my subjects to have a sense of freedom and exist in the world they have in their heads. Sometimes, I see myself as the subjects or are a reflection of what I want to portray or represent with my images.” His storytelling glides smoothly over fresh visual offerings for a modern-day picturesque moment, thick with emotion, guiding us through who David truly is.

“Labels aren’t for me,” he warmly tells me over the phone, thereby inducting me into his world with a smile to his face. “I don’t think I’ve learnt to fit in boxes. I don’t want to learn to fit in either.” The works are extremely personal to the artist, and each photograph is a transformation of his feelings into “real-life” compositions, accompanied by a whole lot of heart. 

In light of this year’s disruptions seeped through the global arts sector, Ansah spoke to Vogue about the relationship with his country, artistic influences and what’s to come.

What first inspired you creatively?

A whole lot. I have base inspirations that run across a wide range of mediums and ones that happen at a moment. It varies based on who I want to be, who I am around or how I feel at the time. Personal experiences, Tumblr, friends who feel like home and family, community, films and other image makers. There’s just something about youth culture and the need to find freedom that really moves me. 

You always find a way to weave in Ghanaian history and stories of everyday life into your photographs…

I would like to relive some moments in the past. The James Barnor and Felicia Ansah era. Those images have a sense of community I would like to feel and since I cannot live or experience that. I feel I can recreate those. Community means a lot for Ghanaians. 

What was it starting out in Ghana as a photographer?

Starting photography in Ghana was a bittersweet experience. Aside from being able to take time with your arts and create very meaningful, unique and intentional work, it gets difficult sometimes for someone like me who has chosen contemporary and fine arts. The life lessons and experiences are eye-opening. And just to add, I am a very anxious person. Photography was the tool for me to be able to express myself. 

How would you describe your practice, and what artistic references have influenced it?

I don’t think I have fully discovered that yet. I am close, but there’s more to do. I would describe my practice as documenting and creating visual stories by using image-making and filmmaking as a medium. I try to take the contemporary approach and blend genres. So many artists and styles of photography influences my work. Deana Lawson, Carrie Mae Weems, Vivian Sassen, Harley Weir, Yurie Nagashima and Ren Hang are some key influences. Honestly, I can’t really mention everything because the influences are a lot and from all sorts of mediums. 

Who are the subjects you represent and why do you feel documentary photography holds a bright spot in your career/people?

I won’t really call myself a documentary photographer even though I use that style of image making in my work. Youth culture, community, change makers are the people my work represents. I will love to do more documentary style of photography but at the moment, I want to explore all genres. I appreciate the fact that I get to photograph real life people without telling them to change, pose or act for the camera. Not only that, but I always want my subjects to have a sense of freedom and exist in the world they have in their heads. Sometimes, I see myself as the subjects or are a reflection of what I want to portray or represent with my images. Labels aren’t for me. I don’t think I’ve learnt to fit in boxes. I don’t want to learn to fit in either. 

Looking at the culture and tradition of Ghana – what could you say excites you the most?

Folklores. 

Is there any aspect you’d change? Why?

A lot. Ageism, glorifying suffering, and individualism need to go. Half the time people don’t want to help and will straight up tell you to suffer to get something. Most people wouldn't want to mentor or share knowledge because they feel they are way too grown or not in the same age group as you. Aside from that, most people don’t want to ask for help or say no when they clearly don’t have the experience it takes to do something. I wouldn’t want to be a part of that. Building a community and ecosystem that will help everyone is what I want. There’s always space for everyone. 

Is the country’s political system helping in breaking down stereotypical barriers (in society)? Or Do you think the system is undermining for creatives who want to push against the grain? 

I think the system wasn’t really built around creatives or willing to give creatives a seat at the table because there isn’t enough awareness on the impact of art in our everyday lives. Indirectly, most people are creatives but don’t even know it. I believe having a proper structure, mentorship programs, grants and spaces for creatives who want to try new things and not stick to the norm will help. But for now, we have to make a change and make everything better for ourselves. 

What does “elevating everyday culture” mean to you?

Owning the narrative, building a safe community and telling stories in our own perspective. 

What would you say gives you the most pride in what you do?

Working with intentions, taking time to create something meaningful is my greatest pride. The fact that I'm able to tell the narrative in my own way without watering it down for anybody makes me who I am. 

When did you begin using your everyday narratives as a vehicle for your creativity?

Everything started in 2017. I wanted something new and refreshing. I wanted something that will make me feel warm again and the only way I could do that is by doing it myself. I'm glad it’s working. 

Will you ever stop using everyday narratives as a vehicle for your creativity?

I don't really see myself doing any of that. Stop is such a strong word. 

Any projects you’re working on?

A lot. I would like to share, but it will ruin the surprises. I look forward to working on my first solo exhibition and photo book.