Annan Affotey is an artistic force with a presence as grand and as robust as his creative representations. He is an artist with a distinctive aesthetic, both in his artistic conceptualisations and material actualisations. The textured brushwork, striking portraits, teal-tinted black, and cleverly embedded unpainted elements—the white distinctions—epitomise his artistic idiosyncrasies. Affotey’s works are both deeply personal and culturally rich, encapsulating moments and experiences through representations of people and animals. Annan's paintings invoke awe, depth and artistic complexity. Â
What inspired your latest project?
My last project was with Netflix, actually. I collaborated with them on their TV series Top Boy. One of the show’s leads, Dushane, really inspired me. I painted him sitting on a couch in his mother’s living room. That was my most recent work, and it was a powerful experience.
How do you usually get into your creative flow? What sparks that moment for you?
It always starts with images. I go through dozens, sometimes hundreds of photos, looking for the one that speaks to me. Once I find it, I sketch it out and transfer it to a canvas. Then comes the texture—I use a lot of it. I build up layers, let them dry, and then I begin painting. I always start with the eyes, and I always end with the eyes.
How long does it usually take to complete a piece?
It depends. If I’m working on just one painting, it could take me two to three weeks. But if I’m working on two or three at the same time, I can sometimes finish them within the same timeframe. It’s all about the energy and the flow. Some pieces take longer than others based on complexity, texture, and scale.
Speaking of scale, your works are massive. What’s the largest piece you’ve done?
The biggest piece I’ve ever worked on is 12 feet by 9 feet. It’s titled Three of a Kind, and if you’ve seen my Instagram, you probably know it. It features two men standing next to a cat and a dog. That one was a challenge but a good one.
Do you have a favourite piece you’ve created? One that means the most to you?
Absolutely. It’s called Paul and Norma, and it’s part of my personal collection. There’s a very special story behind it. Back in 2016, I was exhibiting in the U.S., and a woman saw my work and realized I was Ghanaian—just like her husband. She invited me over, and that night changed everything. Her husband had never really known his Ghanaian roots and had been trying to reconnect. In 2018, I actually went to Ghana to find his family. I met them, and it turned out he was part of a royal house. The resemblance was undeniable. Paul and Norma capture that connection. It’s a portrait of him and his dog, with a background painting that blends both his worlds—America and Ghana. That story, that journey, makes it deeply personal. That’s why I kept it.
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Do you have any new projects in the works?
Nothing major at the moment, but I did recently work on a project for The Idol, the TV show by The Weeknd. I created a few pieces for the series. That was a while back, but it was another exciting milestone.
Do you ever experience creative blocks? How do you deal with them?
Definitely. There are times when I just don’t feel like painting, or I can’t decide what to work on. It can be frustrating. When that happens, I don’t force it. I put the painting away and take a break—maybe go for a walk, get some fresh air. If I push myself too hard, I risk ruining the piece. So, I step back, reset, and either return to the same work or start something new.
You’ve built a strong following—over 22,000 and counting. What advice would you give to aspiring artists looking to reach your level?
Consistency. That’s the key. I’ve been painting for years, even when I wasn’t selling a thing. Back in Ghana, sometimes I didn’t even have money for materials. But every time I could afford some paint, I used it. I just kept painting. You have to stay committed to your craft, even when there’s no reward in sight. Keep going. Don’t give up. That’s the best advice I can offer.
Annan Affotey is a Ghanaian giant telling his stories through paints and canvases. He is a phenomenal artist with a distinctive artistic edge that accentuates and defines his work. Remarkably, he contributes to the discourse of Africa’s artistic depth, further driving narratives that speak of complexity and the profoundness of Afrocentric creative activity. Annan works extend beyond his art, his work and story is a testimony of triumph and dedication.
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