Artist in Focus: Evan Torngmortey Akornor

Evan Torngmortey Akornor is a Ghanaian artist whose work defies the boundaries of medium, genre, and expectation. Rooted in coastal chaos, spiritual memory, and visceral intuition, his practice moves fluidly between painting, sculpture, sound, literature, and performance. Torngmortey’s art isn’t just about aesthetics—it’s an ever-evolving act of exploration, born of personal memory and a relentless desire to reach new thresholds of meaning.

Chaos as Catalyst: A Multisensory Practice

Torngmortey doesn’t enter his studio with a blueprint. Instead, his process is driven by instinct, experimentation, and what he describes as “playing with an array of obj ects… for only God knows how long.” He is unafraid of uncertainty, often creating “from a level of ignorance,” trusting that the right medium will reveal itself. His quote—“every single day is a gradual step to self-discovery”—speaks volumes about his commitment to vulnerability and fluidity in the creative process.

This openness to chaos is not random but foundational. Inspired by a former lecturer’s words— “Chaos is incredibly inevitable, however, within this same chaos you hear, see and feel what you make room for”—Torngmortey embraces disorder as a generative space. From deconstruction to chance, coincidence, and intuition, his approach yields work that is layered, experimental, and immersive.

Ocean as Archive, Myth as Memory

Torngmortey’s connection to Ghana’s coastlines is both physical and spiritual. The ocean, he says, is a “space to breed possibilities,” acting as a metaphorical reservoir for themes like migration, displacement, and rebirth. In his debut solo exhibition SUPER-im-POSES I, these ideas came to life. The show, which ran for 50 days, investigated the fragmented histories of the transatlantic slave trade while reimagining the tradition of portraiture. “It aimed to instigate certain conversations,” he explains, particularly around identity and the spiritual role of the ocean in diasporic memory.

His interest in mythology and religion also stems from his early life with his grandmother, a prophetess and entrepreneur who raised him. “She had a collection of African prints and jewels… and travelled a lot,” he recalls. These experiences shaped Torngmortey’s obsession with migration, trade, biblical references, and intangible culture—myths, taboos, superstitions—that still permeate his work today. In this way, Torngmortey’s practice functions as a living archive of personal and communal memory.

blaxTARLINES and the Power of Collective Influence

As a member of the experimental collective blaxTARLINES KUMASI, Torngmortey has thrived in an environment of radical thought and collaboration. “Being constantly surrounded by great thinkers and artists… goes a long way to influence you,” he notes. This ethos of community and shared vision continues to inform his artistic risks and conceptual rigour. The teachings of influential Ghanaian artist and scholar Prof. Dr. Kar kachä seid’ou have also left an indelible mark, cultivating a new wave of emancipatory thinking in West Africa’s contemporary art landscape—Montgomery among them.

Beyond the Gallery: Art as Dialogue

Torngmortey’s recent exhibitions—Flames of Wrath and Letters from an Unknown Writer—extend his vision further, not simply presenting work but proposing new ways of seeing. “I don’t intend to have absolute control over what audiences take,” he says. “My interest is mostly in the conversations and dialogues instigated physically and spiritually after encountering my work.”

This humility, paired with boundless ambition, positions Torngmortay as a powerful voice in global contemporary art. “I believe God didn’t bring me this far just to come this far,” he reflects. With every project, he inches closer to his goal: to become one of the greatest artists of his generation, and in doing so, inspire others to dream boldly and think expansively.

A Legacy in Motion

For Torngmortey, the future is as open as his process. He sees his work stretching “as far as art stretches,” exploring dimensions yet untouched by traditional art systems. He hopes to leave a legacy not only as a celebrated artist but as a “great thinker”—someone whose work enriches Ghana’s thriving art scene and resonates across borders.

We’d love to hear what resonates with you from Evan Torngmortey’s work—his embrace of chaos, his layered symbolism, or his commitment to cultural memory. 

Join the conversation on our Instagram and Facebook pages (@unxart) and let us know your thoughts. What ideas or images linger with you most?