I am an artist who works on the missing visual documentation of people and places that history has forgotten over time. Born and raised in the city of Lubumbashi, marked by the invisibility of mine workers, and living between Africa and Europe, I have developed a sensitivity to the narratives that shape our urban memory. By focusing on the reconstruction of missing visual archives, I work to restore a place and dignity to those who have been forgotten by history, operating at the intersection of memory, identity, and heritage.
I express this vision in diverse visual forms, photography, but also incorporating archival material, text, and objects. My process begins with investigation, museum collections, family albums, or through oral stories. I then use the camera not to document, but to build new archives where none exist.
My previous work demonstrates this approach. With Decalquer, I worked with abandoned mixed-race Japanese-Congolese children, creating portrait photographs that demonstrate the reappropriation of culture and identity through traditional elements of the two countries to which they are linked. In Money Makes the World, I immersed myself in Dutch museum collections to explore the forgotten collaboration between the Kongo Kingdom and the Netherlands in the 17th century using objects. Each of my projects stems from the same desire to fill the historical silences.
My publication How A Little Pagan Hunter Becomes A Catholic Priest published by Kunstverein Publishing Milano, investigates the figure of Bonaventure Salumu, so-called 'pagan hunter', who between the 1940s and 60s received a Christian education from missionaries in Congo, following which he was ordained to priesthood as a Jesuit, moved to Europe, eventually returning to his native village where he became a husband and father.
Since 2007, my work has evolved both locally, focusing on my hometown of Lubumbashi, and nationally, focusing on my country, the Democratic Republic of Congo, within their respective socio-economic contexts. Following these two locations, my work has expanded to explore global issues that share common histories.
My deep involvement in Lubumbashi's struggling art scene, particularly within the Picha Workshop, provided me with a community for critical exchange. To broaden my perspectives and refine my technical skills, I participated in international platforms such as Photo Market and the Phototools workshop in Johannesburg, and joined the transcontinental artist collective On Trade Off. These collaborations taught me to think collectively and approach complex subjects from different angles.
The most significant factor in my artistic development has been my participation in prestigious international residencies, including the Jan van Eyck Academie (NL), Akademie Solitude (DE), Wiels (BE), and Villa Medici (IT). These residencies provided the invaluable resources of time, space, and critical feedback, allowing me to deepen my research methodologies and expand my network within the global contemporary art scene. This dedicated period of growth is reflected in the increasing complexity and conceptual rigor of my projects.
I understand that being an artist requires not only creative excellence but also strategic planning and relationship building. My strategy is multi-faceted:
My work is understood and appreciated by a diverse audience. I use various resources to ensure communication and accessibility.
Exhibitions: My primary mode of communication is exhibition. I carefully consider the scenography and installation of my works to create a narrative. The texts accompanying the works, along with the captions, are often clear to guide visitors.
Website: My website serves as a comprehensive archive of my practice. It contains high-quality images of my work, detailed descriptions of my projects, my biography, my CV, and information about my upcoming exhibitions and publications.
Social Media: I use social media platforms like Instagram not just as a personal diary, but as an extension of my studio. Here, I share photos of my creative process and behind-the-scenes moments from my residencies or research trips. I also share installation views of my exhibitions in various international venues.
Publications and Writings: The creation of artist's books, such as How A Little Pagan Hunter Becomes A Catholic Priest (with Kunstverein Publishing Milano), and the publication of the project Money Makes the World (with Framer Framed Amsterdam), are valuable resources. These publications allow for further research through essays, interviews, and numerous reproductions that can be collected and studied.
Conferences and Talks: I actively participate in conferences, roundtables, and artist talks (for example, at the Bamako Biennale and the Lubumbashi Biennale). This allows me to engage in critical dialogue and create a direct connection with the public.