Ben Uri Research Unit

Born: 1988 London, England

Biography

Artist Amartey Golding was born in London to an Anglo-Scottish mother and Ghanaian father in 1988. Brought up in a Rastafarian household, his formative years were marked by a nomadic lifestyle, moving frequently across various communities in London and even to Ghana. This exposure to diverse cultures and environments from a young age profoundly shaped his perspective and would later influence his artistic expressions. The constant movement and interaction with different communities instilled in him a strong sense of external observation, where he often felt more like an observer rather than a participant in the cultures around him.

Golding pursued Art and Design at Central Saint Martins, University of the Arts London (UAL, 2005–06) and Architecture (2007–10). Despite his formal training in these areas, Golding has a penchant for exploring mediums in which he is untrained, including printmaking, fashion design, and ballet—an exploratory approach that has become a hallmark of his artistic practice, allowing him to continuously push the boundaries of his creativity. His practice also encompasses painting, writing, sculpture, and more recently, film. Golding's earlier works are identifiable by their distinct style – primarily featuring raw canvas painted almost exclusively in black. The compositions, characterised by their monolithic simplicity, create a dramatic yet quiet visual impact. A significant early project is the mythological narrative of Gabosia, produced as a series of drypoint prints (2013). This project was driven by Golding's personal journey into the enigmatic circumstances of his father's death. The resulting artwork serves as a darkly humorous critique of culture, illustrating Golding's capacity to weave personal stories into broader social themes.

Golding's practice is deeply intertwined with themes of identity, culture, and social commentary. His work often explores the portrayal of Black masculinity and addresses issues of homophobia within Black British communities. Beyond these, his art delves into broader themes of contradiction and coexistence, such as the juxtaposition of life and death, and the simultaneous existence of good and evil. These dichotomies reflect the complexities of his own heritage and the broader human condition. Golding acknowledges the influence of his varied upbringing and the continuous evolution of his work, viewing his practice not only as a means of personal expression, but also as a tool for community dialogue and healing. By intertwining historical context with contemporary issues, Golding’s art resonates on multiple levels, offering viewers a rich tapestry of visual and emotional experiences that encourage deeper understanding and empathy. Golding's approach to art is not just about creating visually appealing pieces but also about invoking deep, reflective thought in the viewer, employing art as a tool for social critique and personal introspection. Golding’s Chainmail 1 (2016) was celebrated for its introspective approach and was hailed as a 'must-see' at the year’s London Art Fair. The film was the first in Golding's Chainmail series, spotlighting his brother, Solomon Golding, the first black British male dancer in the Royal Ballet Company. The film was centered around a 65kg chainmail garment, heavier than Solomon himself during filming, which took 18 months to create. The film's soundtrack features the controversial song Boom Bye Bye by Buju Banton, nostalgically significant to Golding, but also a call for violence against gay men like Solomon. Through this, Golding navigated the exaggerated portrayal of black men in British media and rampant homophobia, exploring universal themes of victimhood and the fine line between oppressor and oppressed.

Continuing his exploration of challenging themes, Golding's more recent project, Bring Me To Heal (2021–22), has been described in Art International as a ‘poetically profound meditation on humanity's disconnect from nature and our inherent animalistic instincts, told through a captivating fable’ (Simpson 2021). This ambitious work combined filmmaking, photography, and a unique handcrafted garment to address generational trauma. The Garment, a centrepiece of the exhibition, was made from human hair and represented a collective symbol of healing and reflection. It was crafted in collaboration with the Shepperton Wig Company and brought to life by Solomon Golding, through a series of performances that were both haunting and poignant. Through this work, Golding explored the therapeutic potential of art and the importance of addressing past traumas for societal healing. The project toured major venues in the UK, including the Attenborough Centre for the Creative Arts.

Golding’s 2023 exhibition Britannia at Norwich Castle continued this exploration with a focus on British identity. Through the symbolic figure of Britannia, Golding invited viewers to reflect on their relationship with their past and its influence on the present. The exhibition used film to create an intimate portrait of Britannia, weaving together themes of nostalgia, amnesia, and the psychological splits caused by intergenerational trauma. Golding has exhibited internationally, with solo shows in the United Arab Emirates, Germany, Denmark, and across the UK. He lives and works in Brighton, England. His work is not currently represented in UK public collections.

Related books

Amartey Golding: in the Comfort of Embers, exhibition catalogue (Toronto: The Power Plant Contemporary Art Gallery, 2024)
Eunice Bélidor, Anaïs Castro, Marilou Craft, Over my Black Body, exhibition catalogue (Montréal: La Galerie UQAM, 2019)
GA.BO.SIA : Amartey Golding, exhibition catalogue (Dubai: Tashkeel, 2013)

Related organisations

Central Saint Martins (student)

Selected exhibitions

Whose Anthem?, solo exhibition, Gasworks - Lighthouse, Brighton (2023)
Liminal People, group exhibition, EastSide Projects, Birmingham (2023)
Britannia, solo exhibition, Norwich Castle, Norwich (2023)
Bring Me to Heal, solo exhibition, 198 Contemporary, London (2022)
159 Members Show, group exhibition, Outpost, Norwich (2022)
Bring Me to Heal, solo exhibition, V&A Late, Victoria & Albert Museum, London; Attenborough Centre for the Creative Arts, University of Leicester; Tramway, Glasgow (2021)
Cut & Mix, group exhibition, New Art Exchange, Nottingham (2021)
STASiS, solo exhibition, Jack House Gallery, Portsmouth (2019)
Summer Exhibition, Cynthia Corbett Gallery, London (2019)
Collective Intimacy, group exhibition, The Showroom, 180 The Strand, London (2019)
Forum: Of Hosts & Guests, group exhibition, Open Space Contemporary, London (2019)
Is It Just Me, Or Is It You?, solo exhibition, Attenborough Arts Centre, Leicester; Jack House Gallery, Portsmouth (2018)
London Art Fair, group exhibition, Cynthia Corbett Gallery, London (2018)
GABOSIA, solo exhibition, Jack House Gallery, Portsmouth (2017)
Young Masters Tour, The Royal Overseas League with Cynthia Corbett Gallery, London (2017)
Nanny Cam, group exhibition, The White Building, London (2017)
Chainmail, solo exhibition, Jack House Gallery, Portsmouth (2016)
Women & Flamingos, solo exhibition, Jack House Gallery, Portsmouth (2015)
COLLECT 2015, group exhibition, Saatchi Gallery with Cynthia Corbett Gallery, London (2015)

Ben Uri archive

Consult items in the Ben Uri archive related to [Amartey Golding ]

Ben Uri Research Unit

for the study and digital recording of the Jewish, Refugee and wide Immigrant contribution to British visual culture since 1900.

Amartey Golding artist