eric gyamfi

MAKiNG SENSE OF THIS WORLD... AND THE OTHERS

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some other days...

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Some days,

stunning photos from the opening of Stomat: Dr. Mahashe's open frames by @aquartey

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some days...

walkthrough/(workshop with students from Design Technical institute (DTI) Accra, convened with the help of the kind and gentle Nana Resh.

All Credits at the end of the video

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Explore Eric Gyamfi's experimental photography in 'Stomata: Dr. Mahashe's Open Frames,' featuring large-format pinhole images and the modifi

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some days...

Stomata with Remi, Abbey, Ato and Adwoa at fca Ghana

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gone days

stomata, mattering

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Mapping Rumours: A Cartographer's guide, translated for

Biennale de la photographie de Mulhouse, 2026. The exhibition Settled, Curated by Ange Frederic Koffi covenes the works of

Mahmoud Alhaj, Adji Dieye, Jennifer Douzenel, Eric Gyamfi, Kapwani Kiwanga, George Mahashe, Otobong Nkanga, Léonard Pongo

"The exhibition  Settled proposes using the processes of sedimentation as a metaphor for the modes of visibility and invisibility that permeate our era. Geological strata are simultaneously visible and buried, present and millennia old, revealing a history but also its gaps. The artists gathered in this exhibition explore this tension between what accumulates and what disappears, between what is shown and what is hidden. As such, the exhibition is conceptually grounded in the notion of ambivalence explored by current research in photography. Far from being reduced to simple indecision, ambivalence appears here as the juxtaposition of antagonistic, often irreconcilable, positions that traverse different strata of our perception. This tension fundamentally characterizes our relationship to the photographic image: while it allows us to unveil and archive reality, it simultaneously confronts us with the boundaries of this very visibility—with all that remains off-screen, inaccessible, or elusive."

Settled - La Filature

Avec Mahmoud Alhaj, Adji Dieye, Jennifer Douzenel, Eric Gyamfi, Kapwani Kiwanga, George Mahashe, Otobong Nkanga, Léonard PongoL’exposition S

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Stomata: Dr. Mahashe's Open Frames Opens at the Foundation for Contemporary Art (FCA)Ghana.

For the FCA iteration " STOMATA: DR. MAHASHE'S OPEN FRAMES presents selections from the series of experimental large-format photographs of the same title, the purpose-built and modified pinhole cameras that produced them (2025), process-notes and annotations, and a library activation." Abbey IT–A

Stomata: Dr. Mahashe’s Open Frames (2025) is a series of large-format (4 × 5 and 8 × 10) negatives. The images follow a prompt posed by

George Mahashe during a phone call in April 2025. Over the course of the conversation, Dr. Mahashe wondered what might happen if the

interior of a camera obscura were not treated as a void, and if the pathway to the aperture were understood not merely as a means to an end, but

as a potential in itself.

Earlier that year, I had facilitated a pinhole camera–building workshop with a group of MFA students from the Department of Painting and

Sculpture at KNUST. The exercise—particularly in the way it laid bare the individual components of the camera and optical system—made me

curious about what might occur when elements of this system are reconfigured, rearranged, or even substituted. This approach already aligned

with my broader interest in reprogramming photography for alternative purposes. Dr. Mahashe’s prompt stayed with me.

The project, titled after him, consists primarily of two cameras: a control camera and an augmented camera, both of which were repeatedly built

from scratch to identical dimensions. The two cameras were typically exposed to the same subject matter—primarily the materials, spaces,

books, and people involved in the project—and developed simultaneously for comparison. We tested the effects of intervening in the

conventional void of the camera with systems of mirrors, heat, and even plant gases, constructing and modifying different cameras to enable

these experiments. We also explored the effects of using multiple pinholes.The images presented here are selected from a range of tests.

In the selection involving mirrors placed within the pathway between the aperture

(pinhole) and the film plane—one of four interventions—we observed an extension of the original pinhole’s field of view. Facilitated by the

mirrors, the camera was able to see above itself, to its extreme left and right, and even the ground beneath it, within an approximately 300-

degree field of vision, depending on the angle of the interior mirrors and the areas of greatest light.

Unlike conventional pinhole cameras, which admit light through a single aperture and record a one-to-one projection of the external world, the

mirrored inner chamber creates multiple optical paths from a single pinhole. Each incoming ray may strike the film plane directly, or after one or

many reflections, producing layered, displaced, or multiple projections of the same scene within a single exposure. The resulting negatives display

a visual phenomenon resembling double or multiple exposure, yet arising from a single uninterrupted act of exposure. Through this multi-path

convergence, direct and reflected rays meet on the same photosensitive plane.

Additional, less easily explained effects appeared on some film sheets, including glowing forms. In certain tests—such as the collection of

interior exposures—we devised methods for the cameras to photograph their own interiors. By partitioning a large-format 8 × 10 camera into

two chambers, blocking the external aperture with a lens cap, and introducing a second aperture within the camera itself, we projected the

interior of the first chamber onto the film plane. In this collection, the pinhole diameter that becomes subject matter is also the diameter of the

second aperture dividing the camera. The degree of sharpness or blurriness in the resulting image directly correlates with this relationship, such

that the inscribed pinhole diameters visible in the photographs simultaneously identify and perform the optical conditions of their own

representation, revealing the very conditions of their appearance.

This selection forms part of the larger body of work produced in response to the 59th Carnegie International.

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FCA presents ‘𝗦𝗧𝗢𝗠𝗔𝗧𝗔: 𝗗𝗥. 𝗠𝗔𝗛𝗔𝗦𝗛𝗘’𝗦 𝗢𝗣𝗘𝗡 𝗙𝗥𝗔𝗠𝗘𝗦’.

“For over a decade, Eric Gyamfi has continually set out to touch and stain the photographic medium. Its processes. Its procedures. Its apparatuses. Its apparentnesses.

“The exhibition, ‘𝗦𝗧𝗢𝗠𝗔𝗧𝗔: 𝗗𝗥. 𝗠𝗔𝗛𝗔𝗦𝗛𝗘’𝗦 𝗢𝗣𝗘𝗡 𝗙𝗥𝗔𝗠𝗘𝗦’ presents selections from a series of experimental large-format photographs of the same title, the purpose-built and modified pinhole cameras that produced them (2025), process-notes and annotations, and a library activation at FCA-Ghana. Here, Eric Gyamfi shows us multiple optical paths through which characters and phenomena outside a given visual field have insisted on writing themselves onto the picture. That we may convene and observe this “funky set” of control images alongside their augmented counterparts, wondering how come…”

Come, join us! Sat, May 23.2026 walkthrough: 6:30 pm opening remarks: 7:00 pm

‘𝗦𝗧𝗢𝗠𝗔𝗧𝗔: 𝗗𝗥. 𝗠𝗔𝗛𝗔𝗦𝗛𝗘’𝗦 𝗢𝗣𝗘𝗡 𝗙𝗥𝗔𝗠𝗘𝗦’ continues through Sat, June 20.2026, with a closing event. There will be opportunities for guided tours with Abbey IT-A and/or on Eric Gyamfi each Mon and Fri at 1:30 pm. Sign up link in our bio.

photos Ⓒ Eric Gyamfi words by Abbey IT-A

———The initial works from which this selection of photographs are derived were produced as a commission in response to the 59th Carnegie International (ongoing, @carnegiemuseumofart).

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some days

some days

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Exposure: Black Queer Visual Constellations

April 16–June 15, 2026 & May 8, 2026 EXHIBITION | SYMPOSIUM As a critical engagement with contemporary Black queer visual art, Exposure exam

Exposure: Black Queer Visual Constellations

April 16–June 15, 2026.. Ongoing at the Cohen Gallery at Brown University, Providence

with Alanna Fields, keyon gaskin, Eric Gyamfi, Deborah-Joyce Holman, Nadia Huggins, Texas Isaiah, Clifford Prince King, Carlos Martiel, Patric McCoy, Sabelo Mlangeni, Zanele Muholi, Shikeith, Tourmaline, and Ajamu X, curated by Lindiwe Makgalemele, Jordan Mulkey, J.M. Nimocks, Alexander Ghedi Weheliye, and Gee Wesley

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Settled - La Filature

Avec Mahmoud Alhaj, Adji Dieye, Jennifer Douzenel, Eric Gyamfi, Kapwani Kiwanga, George Mahashe, Otobong Nkanga, Leonard PongoL’exposition S

In Mulhouse; France, next Month in great company!

Mahmoud Alhaj » Adji Dieye » Jennifer Douzenel » Eric Gyamfi » Kapwani Kiwanga » George Mahashe » Otobong Nkanga » Leonard Pongo »

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In June 2026, the 7th edition of the BPM - Biennale de la Photographie de Mulhouse invites to explore geological and mental geographies

In Mulhouse; France, next Month in great company!

Mahmoud Alhaj » Adji Dieye » Jennifer Douzenel » Eric Gyamfi » Kapwani Kiwanga » George Mahashe » Otobong Nkanga » Leonard Pongo »

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I return to the wall with a funky set of experiments titled "Stomata: Dr. Mahashe's Open Frames' 2026. My most rigorous but also most playful work yet.

Stomata: Dr. Mahashe’s Open Frames (2025) is a series of large-format (4 × 5 and 8 × 10) negatives. The images follow a prompt posed by George Mahashe during a phone call in April 2025. Over the course of the conversation, Dr. Mahashe wondered what might happen if the interior of a camera obscura were not treated as a void, and if the pathway to the aperture were understood not merely as a means to an end, but as a potential in itself.

Earlier that year, I had facilitated a pinhole camera–building workshop with a group of MFA students from the Department of Painting and

Sculpture at KNUST. The exercise—particularly in the way it laid bare the individual components of the camera and optical system—made me curious about what might occur when elements of this system are reconfigured, rearranged, or even substituted. This approach already aligned with my broader interest in reprogramming photography for alternative purposes. Dr. Mahashe’s prompt stayed with me.

The project, titled after him, consists primarily of two cameras: a control camera and an augmented camera, both of which were repeatedly built from scratch to identical dimensions. The two cameras were typically exposed to the same subject matter—primarily the materials, spaces, books, and people involved in the project—and developed simultaneously for comparison. We tested the effects of intervening in the conventional void of the camera with systems of mirrors, heat, and even plant gases, constructing and modifying different cameras to enable these experiments. We also explored the effects of using multiple pinholes.The images presented here are selected from a range of tests.

In the selection involving mirrors placed within the pathway between the aperture (pinhole) and the film plane—one of four interventions—we observed an extension of the original pinhole’s field of view. Facilitated by the mirrors, the camera was able to see above itself, to its extreme left and right, and even the ground beneath it, within an approximately 300- degree field of vision, depending on the angle of the interior mirrors and the areas of greatest light. Unlike conventional pinhole cameras, which admit light through a single aperture and record a one-to-one projection of the external world, the mirrored inner chamber creates multiple optical paths from a single pinhole. Each incoming ray may strike the film plane directly, or after one or many reflections, producing layered, displaced, or multiple projections of the same scene within a single exposure. The resulting negatives display a visual phenomenon resembling double or multiple exposure, yet arising from a single uninterrupted act of exposure. Through this multi-path convergence, direct and reflected rays meet on the same photosensitive plane. Additional, less easily explained effects appeared on some film sheets, including glowing forms. In certain tests—such as the collection of interior exposures—we devised methods for the cameras to photograph their own interiors. By partitioning a large-format 8 × 10 camera into two chambers, blocking the external aperture with a lens cap, and introducing a second aperture within the camera itself, we projected the interior of the first chamber onto the film plane. In this collection, the pinhole diameter that becomes subject matter is also the diameter of the second aperture dividing the camera. The degree of sharpness or blurriness in the resulting image directly correlates with this relationship, such that the inscribed pinhole diameters visible in the photographs simultaneously identify and perform the optical conditions of their own representation, revealing the very conditions of their appearance. This selection forms part of the larger body of work produced in response to the 59th Carnegie International

[gyamfieric]

I return to the wall with a funky set of experiments titled "Stomata: Dr. Mahashe's Open Frames' 2026. My most rigorous but also most playful work yet.

Stomata: Dr. Mahashe’s Open Frames (2025) is a series of large-format (4 × 5 and 8 × 10) negatives. The images follow a prompt posed by George Mahashe during a phone call in April 2025. Over the course of the conversation, Dr. Mahashe wondered what might happen if the interior of a camera obscura were not treated as a void, and if the pathway to the aperture were understood not merely as a means to an end, but as a potential in itself.

Earlier that year, I had facilitated a pinhole camera–building workshop with a group of MFA students from the Department of Painting and

Sculpture at KNUST. The exercise—particularly in the way it laid bare the individual components of the camera and optical system—made me curious about what might occur when elements of this system are reconfigured, rearranged, or even substituted. This approach already aligned with my broader interest in reprogramming photography for alternative purposes. Dr. Mahashe’s prompt stayed with me.

The project, titled after him, consists primarily of two cameras: a control camera and an augmented camera, both of which were repeatedly built from scratch to identical dimensions. The two cameras were typically exposed to the same subject matter—primarily the materials, spaces, books, and people involved in the project—and developed simultaneously for comparison. We tested the effects of intervening in the conventional void of the camera with systems of mirrors, heat, and even plant gases, constructing and modifying different cameras to enable these experiments. We also explored the effects of using multiple pinholes.The images presented here are selected from a range of tests.

In the selection involving mirrors placed within the pathway between the aperture (pinhole) and the film plane—one of four interventions—we observed an extension of the original pinhole’s field of view. Facilitated by the mirrors, the camera was able to see above itself, to its extreme left and right, and even the ground beneath it, within an approximately 300- degree field of vision, depending on the angle of the interior mirrors and the areas of greatest light. Unlike conventional pinhole cameras, which admit light through a single aperture and record a one-to-one projection of the external world, the mirrored inner chamber creates multiple optical paths from a single pinhole. Each incoming ray may strike the film plane directly, or after one or many reflections, producing layered, displaced, or multiple projections of the same scene within a single exposure. The resulting negatives display a visual phenomenon resembling double or multiple exposure, yet arising from a single uninterrupted act of exposure. Through this multi-path convergence, direct and reflected rays meet on the same photosensitive plane. Additional, less easily explained effects appeared on some film sheets, including glowing forms. In certain tests—such as the collection of interior exposures—we devised methods for the cameras to photograph their own interiors. By partitioning a large-format 8 × 10 camera into two chambers, blocking the external aperture with a lens cap, and introducing a second aperture within the camera itself, we projected the interior of the first chamber onto the film plane. In this collection, the pinhole diameter that becomes subject matter is also the diameter of the second aperture dividing the camera. The degree of sharpness or blurriness in the resulting image directly correlates with this relationship, such that the inscribed pinhole diameters visible in the photographs simultaneously identify and perform the optical conditions of their own representation, revealing the very conditions of their appearance. This selection forms part of the larger body of work produced in response to the 59th Carnegie International