The Ghanaian photographer discusses masculinity, boyhood and the support from his local community

What first drew you to photography?
I started taking photos on my iPhone as a means of sharing what was boiling inside of me. I thought I had to share to make room for more, to create the ideas I have imagined in my head. I think that’s the essence of birthing: putting something out, something you believe in, or something you believe should be. Now I use a Canon.

You studied business at the University of Ghana. What made you change to a more creative career path upon graduating in 2017?
I always knew I wanted something different. Aside from what you’re forced socially to do, of course, photography is plainly risky in the eyes of others, but it felt and still does feel normal for me. It isn’t really risky when you’re doing something you really want to do.

What are you trying to express with your work?
Most of my work is personal. I’m only trying to express how I feel. I create what I have imagined, or perhaps how I’d rather things looked. I am someone who has got a very good connection with words. I get inspired easily by what I read and hear. When that happens it becomes a part of my thinking and I start creating ideas that then become a part of me. It goes on and on until I’m forced to bring them out and envision them through a photographic subject. In every work, I try to portray some actions that have physical relations to how I feel.

You portraits of young black men are infused with colour, intrigue and positivity. How do you select your characters?
Because I’m shooting what is personal to me, I’d love to be able to shoot myself but to be honest, that would be a very difficult task. So I shoot men who I think look and can act as me. What I do is look for someone who really wants to be photographed because not everyone is willing to go the extra mile for the work of art. So there must be that enthusiasm, and then I try to condition the person to understand the idea I’m trying to convey, and be comfortable on set. When you have that, the work is more than 90 per cent complete. Lastly, I try to make it all a fun experience for them.

How do the Ghanaian youth relate to your work?
I believe the youth have really come to embrace the idea of conceptual art, which has made it easier for my work to be appreciated in Ghana. Assessing their receptiveness I can only smile. I have gotten messages from people that inspire me to keep going. Some of them text me to congratulate me, and others want to be a part of a project or propose collaborations. It is always such a great feeling.

Which of your images have resonated especially well?
For me, it’s been ‘Trojan Horse’ and ‘Fruits are for Boys’. They have both influenced my life as an artist and helped to put me out there. People from all over have connected with them so I’m really glad that they have had so much power.

Any up and coming projects?
I'm currently working on a long-term project documenting the locals of my new, rural environment. It hasn’t really gotten a theme yet, it is more of a free flowing project, so I’m just capturing some interesting scenes. My hope for the future is really high. I believe in the coming years I’m going to cross boundaries, gain further recognition and land on the bigger walls I’ve already dreamed of.

Can you highlight some of the most up and coming talents from Ghana?
The Ghanaian scene has been getting more interesting over the years. A lot of young creatives are coming out and owning up their passions - not only photographers but all kinds of artists. It is really attractive now and I know the future is bigger than this. I'd mention David Nana Opoku and Tesa Sackitey as very promising for our community.