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Liam Sangmuah

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[Pablo Jomaron], born Paris to a French father—a high school art teacher brought up in a family active in the French resistance—and a Chilean mother—a psychoanalyst whose family fled the country on the arrival of Pinochet—grew up between his mother’s place in Pigalle and his father’s in Belleville.

“The North of Paris can be a wild place” he reminisces, as he recounts the origins of his photography practice as a teen constantly moving between the two boroughs. Jomaron began taking photographs as a way to document the graffiti writing he began at age twelve. And no matter one’s feelings about where graffiti sits vis-à-vis capital A “Art”, to be a graffiti writer—or at least one of a certain pedigree—requires and produces an intimate knowledge of a city’s being—its industrial margins, its rooftop accesses, its train yards, and inevitably its prisons and courtrooms. In and of themselves, graffiti markings add friction to the surface of the metropolis, “as material evidencing of other voices, of other ways of seeing and acting in the city”, in the words of curator and anthropologist Rafael Schacter.

[…]

Though Jomaron now sees graffiti writing as distinct from his artwork, there is something in the practice’s materiality and affect, its balance of purity and petulance, its illogical nature—it’s dance between “saintliness and pilfering”—that still to me is evoked in the surface texture of his wax-coated images, and
in his approach to photography more generally.

Once, while walking up the road in Belleville, we passed by one of his old pieces. Its presence went unacknowledged, but I thought this faded piece spray painted on the storefront shutter might appear to him like an old keepsake in the same way a sepiatoned
photograph ages on the mantel of a home—both being
remnants of the heart, preserved and recorded as if song.

Read the full piece on @pablojomaron by @sangmuah in Issue 11!

Slide 1: Untitled, 2025
Slide 3: Mur du tribunal de la Cité Paris, Extrait de la série «Palais», 2014
Slide 4: Juana, Blue back print coated in wax on custom wooden frame, 2026

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Purifoy considers the moment he became an artist to be the Watts Rebellion of 1965—the biggest protest against police brutality of its day, which resulted in the death of thirty-four people and millions of dollars of property damage.

At the time, Purifoy was serving as the founding director of the Watts Tower Arts Center. Faced with the destruction in their community, he and fellow artist Judson Powell led an effort to salvage material from the debris and use it as material for artworks.

This eventually became the landmark group exhibition 66 Signs of Neon. “The exhibit got its title from the drippings of neon signs upon the ground, formulating crystal-like meltings, mixing with the sand and dirt, formulating extremely odd shapes”

Read Liam Sangmuah’s @sangmuah piece on Noah Purifoy’s Outdoor Museum of Assemblage Art in our latest issue.

Many thanks to the team @noahpurifoyfoundation for their time and collaboration.

—

Slide 1: Noah Purifoy in The White House, 1990-1993
Slide 2: Everything and the Kitchen Sink, 1996
Slide 3: Commissary, 1995
Slide 4: Sculpture Defined, 1989-1990
Slide 5: 66 Aluminum Trays, 2002 in foreground, Ode to Frank Gehry, 2000 in background

All images courtesy of Noah Purifoy Foundation ©2026

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All my gratitude, Liam Sangmuah for hearing me out.
Text by @sangmuah published in issue #11 of @bluemoonmagazine

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Joy @joycrookes
recording at RAK Studios

interview by @sangmuah
for @bluemoonmagazine Issue 11 out today

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‘Acquaintance’ by the inimitable Steven Shearer graces our Issue 11 cover!

The issue features interviews with:

Steven Shearer @viviseconds by Leah Gudmundson
Molly Nilsson by Flo Dill @flollid
Joy Crookes @joycrookes by Liam Sangmuah @sangmuah , photos by Sirui Ma @sirui.ma
Francesca Lia Block @francescaliablock by Leah Gudmundson
iris yirei hu @iristheempress by riel bellow @grumpoftheearth
Ryosuke Tanzawa @ryosuketanzawa by Liam Sangmuah

Features on:
Kali Malone @hotscorpions by Colm Moore @col.mm
words by Phoebe Campion @phoebe.campion
Joanna van Son @juanita_leschnit by Nicolas Vamvouklis @vamvouklisn
Pablo Jomaron @pablojomaron by Liam Sangmuah
Brian Merriam @brianhmerriam by L.D Deutsch @ld.deutsch
and
Noah Purifoy @noahpurifoyfoundation by Liam Sangmuah

Design by Hannes Drissner @hanneswho

Launch parties in London on June 17th @antennebooks and in Paris June 19th @a_sideparis. Please save the dates, further info to follow!

Cover painting: Steven Shearer, ‘Acquaintance,’ 2025, Oil on linen in artist’s frame © Steven Shearer, Courtesy the artist, Galerie Eva Presenhuber, and David Zwirner, Photo by Kerry McFate

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@baby.kojo ‘AND-1 Mixtape’ cover shoot outtakes

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For our first BLACCC Alt Crit we had the pleasure of welcoming guest mentor, Liam Sangmuah.

Working as an Research Associate at Wales Bonner, Liam recently worked on the 2024 Wales Bonner Musuem of Modern Art exhibit titled 'Spirit Movers'.

Gathering nearly 40 artworks from the Museum’s collection that explore sound, movement, performance, and style in the African diaspora and beyond. The exhibit brought together artists from around the world and across generations, including Terry Adkins, Moustapha Dimé, Agnes Martin, Man Ray, Betye Saar, and David Hammons.

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To show up despite someone / systems determined to dismiss-disrespect-extinguish you takes guts and gall mate. We need your presence, your perspective and pizzazz on this planet. (a little 🌹 on the tenderness of Being)
Excerpts from my latest multimedia zine, ‘a space to land’ on 💁🏽‍♀️ dionne . substack . com

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@baby.kojo ‘AND-1 Mixtape’ cover art.

Creative production: @chi____ara
Art Direction: @sangmuah
Production: @h.e.r.e.h.e.r.e

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AND-1 Mixtape out now at the link in my bio.

Photo: @othellogrey
Production: @chi____ara
Art Direction: @sangmuah
Graphic: @mich_mao

Produced by: @prince_j_o_s_h @young.clancy
Mixed by: @lukegagne

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AND-1 Mixtape out Thursday January 22, 2026 on all streaming platforms

@prince_j_o_s_h @young.clancy @lukegagne @mr_redwood @othellogrey @chi____ara @sangmuah

Video by @othellogrey

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