At just 23 years old, Ghanaian photographer Sarfo Emmanuel Annor has captured international attention by creating stunning visual art using nothing more than his smartphone and secondhand sports accessories. The self-taught artist from Koforidua, a town two hours north of Ghana's capital Accra, has developed a unique aesthetic that celebrates color, contrast, and the universal language of sports.
Every Sunday, Annor follows a personal ritual that has become central to his artistic practice. He visits the local market in Koforidua, searching for vintage sports gear, particularly soccer jerseys that have made their way from Europe, the United Kingdom, and especially London. "I'm drawn to accessories with beautiful colors," Annor explains. "Blue, yellow, red - they work really well. It's the most aesthetic approach." His eye for striking pieces has led to photographs featuring Brazilian team logos, magnificent British and Irish Lions rugby jerseys, swimming goggles, hoops, and the distinctive stripes of Inter Milan.
"I really love stripes, that's true, but mostly I love color," the artist continues. "Sport is obvious for me and for my work. In Ghana, like everywhere in Africa, it's part of daily life for all young boys. I played sports too, but I was always more interested in the jerseys, the shoes, the design, the drawings on the ball. Soccer and sports are pop culture. It fascinates me. Everyone wears these accessories. My nephews, who I photograph a lot, still play many sports at school today."
Annor's visual art has now reached European galleries and international art fairs. Earlier this year, he exhibited at the Bridge Gallery in Paris and more recently at Art Basel, followed by shows in other continental venues. Both the photography and sports worlds are watching this emerging talent with curious and informed eyes. The young artist has quickly understood the codes of success: he works independently, shares his creations strategically, transmits powerful and universal messages without pretension, and provides clean descriptions of his subjects without overplaying mystery. He soberly titled one work combining soccer and racquet sports "Goal and Ace."
"I'm Ghanaian from a family without artists, without photographers, far from that world," Annor reflects when asked about his background. "There wasn't money for me to go to university after high school. I wanted to learn fashion hands-on. Since I was little, I've been drawing, painting, filling colored notebooks. I went to see a Ghanaian designer to tell him I wanted to learn. He took me as an apprentice. I understood design techniques."
The turning point came through technology and family support. "Then my sister gave me a phone, and I started taking photos of everyone with it. I also edited on the phone. It was experimental. I tried putting these strong colors in the background and I was very disciplined. I stopped being an apprentice because I had to choose between fashion and photography. But the two work well together. And after discovering Instagram late, where I started posting things, it took off."
Annor has remained committed to smartphone photography throughout his rise to prominence. "The day I got my hands on a good phone, I understood it was totally made for me. It's the perfect tool to tell the story of my community, Ghana, and Africa. I didn't need more than that." His distinctive use of contrast has quickly established his reputation, and his works now sell for several thousand euros.
The photographer's mission extends beyond aesthetic achievement to social commentary and community representation. "It's the story of Ghana and the population, which is very young, that I'm telling," he explains. "I photograph a lot of close family members, especially my nephews. In Ghana, the economic situation is far from easy, young people face many challenges, and I want to continue exploring other messages, soon around plastic waste and overproduction."
This social consciousness partly explains his focus on recycling jerseys and sports accessories, all secondhand. Ghana has been dubbed the "trash bin of fast fashion" by international media, with an estimated 260,000 tons of clothing polluting streets, beaches, and cities. Unsold or discarded sports clothing from Europe floods the country. "If it's a message that can reach governments, especially mine, that's a good thing," the artist explains. "When I started, it was very personal, only my close ones knew about it, but now I want it to be seen, to make an impact."
According to FishEye magazine, one of the leading photography publications that has featured his work in recent months, "the photographer defends a profoundly optimistic vision of his country." This perspective shapes both his artistic approach and his ambitious future plans.
Looking ahead, Annor dreams of expanding his reach while maintaining his authentic voice. "I dream of working for magazines," he says about the future. "No matter their field. Sports, fashion, architecture, culture - everything interests me. I'm doing my first exhibitions in Europe, I've also exhibited in Accra, I want to continue, in Asia for example. And I dream. When I came to Paris, I visited magnificent places, the Louvre, the Palais de Tokyo. Why not be there one day?"
Annor's success story represents a new model for contemporary African artists: finding international recognition while staying rooted in local community and accessible tools. He continues to draw from daily life to create beauty, content with simple elements - family models, smartphone, thrifted accessories, and popular references. Combined with his immense talent, this approach has positioned him as a rising star in both the photography and contemporary art worlds, proving that powerful artistic statements can emerge from the most humble beginnings and available resources.
