Amoako Boafo, the 40-year-old Ghanaian painter, is on the brink of unveiling his first London exhibition, "I Do Not Come to You by Chance," at the prestigious Gagosian gallery. This showcase of his latest figurative paintings is a testament to his rapid rise in the art world, marked by his distinctive style that combines fingertip-painting with intricate patterns and bold colors. Boafo's work, which often features joyful and empowering portrayals of Black men and women, has garnered international acclaim and set new auction records.

The exhibition is not just a display of art; it is an immersive experience that transports viewers to Boafo's childhood home in Accra, Ghana. Sections of the gallery are adorned with patterned wallpaper, and one room features a life-size recreation of the courtyard where Boafo spent much of his early life. "The idea of bringing the courtyard situation to London is me bringing home with me," Boafo explained. "The courtyard is a space where I got to learn about almost everything: how to take a bath, how to take care of yourself, how to sit quietly and listen, how to be disciplined."

Boafo's journey to art-world stardom began in 2018 when American artist Kehinde Wiley discovered his work on Instagram. "He suggested my work to his galleries," Boafo recalled, "which was when things started picking up." By December 2021, one of his paintings, "Hands Up," had sold for over 26 million Hong Kong dollars ($3.4 million) at Christie’s, setting an auction record for his work. This meteoric rise included a residency at the Rubell Museum in Miami, owned by renowned collectors Don and Mera Rubell, and collaborations with galleries in Los Angeles (Roberts Projects) and Chicago (Mariane Ibrahim).

One of the most notable collaborations was with the French fashion house Dior for its Spring/Summer 2021 menswear collection. "Then Dior happened," Boafo said, "and it didn’t slow down." His work has also reached the stars, quite literally, with three of his paintings sent into space on exterior panels of a Blue Origin rocket. "I realized that maybe (my career is) never going to slow down –– and it never did," he reflected.

Born in Accra in 1984, Boafo faced financial challenges that initially prevented him from attending art school. Instead, he played semi-professionally on the tennis court, a sport that taught him valuable lessons. "Not to sit idle; whatever happens, you move," he said. Eventually, a family his mother worked for sponsored his tuition at Ghanatta College of Art and Design in Accra, where he honed his skills in drawing and painting.

Boafo's move to Vienna and his return to academia marked a turning point. He developed a painterly "language" that challenged traditional Eurocentric forms of art history. "He was confronting the ideology that art history has to be within a Eurocentric form," said French-Somali gallerist Mariane Ibrahim, who supports emerging artists of African descent. "To purposely deconstruct traditional portraiture and figuration was really an act of rebellion, but also an act of making and creating your own history."

Today, Boafo is at the forefront of a renaissance in Black figuration. His subjects are often friends, family, and himself, as he believes in being present when representing his people. The paintings are a visual representation of his desire to slow down and take stock. He hopes to work on one more exhibition with a similar theme before stepping away from making paintings for shows. "I want to take a bit of break because I have other projects that I am passionate about –– like architecture and tennis. I want to build my own tennis academy, to develop (sports initiatives) so that the youth have something to do," he said.

At Gagosian in London, the new self-portraits, including one of his largest paintings to date, have an added poignancy. They act as "a reminder of the things that I want to do," he said. "It’s a reminder to take a break and do yoga. Take a break and go on a bike ride. Take a break and look pretty and beautiful. Take a break and, sometimes, just stay home and relax."

Boafo's work is now held in major museum collections, from London’s Tate and the Fondation Louis Vuitton in Paris to New York’s Guggenheim and the Hirshhorn in Washington, D.C. In Accra, he has become a local celebrity, often waking to find a line of people waiting to talk to him. "There’s some joy (in it) and there’s some stress," he admitted. He remains deeply connected to the local community through his dot.ateliers initiative, an artists’ residency launched in 2022 that has since expanded to host writers and curators. "I imagine dot.ateliers to be an institution which should live beyond me," he said.

Collaboration is central to Boafo's practice. He frequently works with Glenn DeRoche, the architect behind the courtyard constructed in London. "It was the perfect opportunity to pair what we both enjoy: working within communities, but also storytelling through what we create," DeRoché said. The reimagined Accra courtyard, abstracted in a charred black timber structure, serves as a powerful starting point for the exhibition, blending Boafo's ancestral roots with contemporary storytelling.

Despite plans to shift his focus, Boafo remains committed to painting. "I’m always going to paint," he said. "It makes me feel good. I will not be making paintings for gallery exhibitions. I’m just going to be painting for myself, to keep reminding myself of where I am and where I want to be –– you know, taking care of me."

"I Do Not Come to You by Chance," at Gagosian in Grosvenor Hill, London, is showing from April 10 to May 24, 2025. This exhibition is more than just a collection of paintings; it is a journey through Boafo's life, a celebration of his roots, and a testament to his enduring impact on the art world.