Introduction

Objectives

From the horizons of the oceans and seas to the roots of the Afro experience, this art exhibition project: “Blue: Roots and Horizons” features the theme Blue, as a universal and symbolic color which embodies travel, memory, and depth.

This art project explores the trajectories of people of African descent dispersed throughout the world by slavery then colonization, and their complex relationship with their homelands. “Blue: Roots and Horizons” explores the notions of identity, collective memory, untold stories and returning to their roots.

  • Pay homage to people of African descent: Highlighting the experiences, stories, and aspirations of communities of African descent stemming from slavery and colonial histories.
  • Explore collective memory: Illustrate the cultural and emotional ties that persist between people of African descent and their homelands.
  • Foster dialogue: Encourage conversations about identity, displacement, and new belonging.
  • Create an immersive experience: Use art to connect audiences to personal and collective narratives through varied perspectives.

Meet The Artists

Audry Mputu projects the Congolese capital into the future: taxis take off, terraces transform into ring roads, and the people of Kinshasa wear masks taken from the collections of former colonial museums. A close friend of Mega Mingiedi Tunga and the sculptor Junior Mvunzi, with whom he performs in the urban theater collective “Bosolo,” Audry Mputu has exhibited at the National Museum of the Democratic Republic of Congo and on Bilanga_Mobile, a concept of a rolling exhibition wall that crosses the city. His recent paintings portray Congolese stars in front of this same wall, a symbol of a youth not allowed to travel.

“La Traverse,” his most political series, depicts the dangerous route to a distant Europe, protected by soldiers and barbed wire. Audry Mputu is an associate artist of the Dessins Sans Papiers collective, which presented his work in a mini-documentary

My name is Bia, I’m Brazilian, married to a German, and I’ve been living in Luxembourg since 2008. I’m more proud than ever of my African roots.

My mother was the daughter of a Portuguese man and an African woman, Maria José. My grandparents were Africans, either brought directly from their country of origin to Brazil by one of the “tumbeiros” (traditional settlers) or born in Brazil.

Unfortunately, it hasn’t yet been possible to trace their origins to find out more. From what I can tell, they were moved from one place to another. I think they lived in conditions of slavery, but unfortunately, I can’t say much. Apparently, my grandmother didn’t live in conditions of slavery.

“On my father’s side, I’m Portuguese and of indigenous descent. My grandfather was Portuguese and my grandmother was indigenous .”

Ekokotu Emmanuel is a visionary African artist from Agbarha-otor, Ughelli North, Delta State in Nigeria. He harnesses the power of nature to explore our origins and the human experience. Through his innovative use of organic materials like tree trunks, branches and roots, Ekokotu crafts sculptures and paintings that delve beyond the surface level, uncovering profound insights into life, death and rebirth.

With a deep understanding of the natural world, Ekokotu’s work embodies the cycles of nature, revealing the beauty in transformation and renewal. His artistry breathes new life into organic forms, weaving visual narratives that not only inspire awe but also prompts introspection and self-discovery.

By embracing the beauty and wisdom of nature, Ekokotu’s creations invite us to re-evaluate our perspective on mortality, encouraging us to see death not as an end, but as a new beginning. His art is a testament to the transformative power of nature and the human spirit, leaving a lasting impact on all who experience it.

Djakou Kassi Nathalie, a Cameroonian visual artist born in Cameroon and currently residing in Lagos, has been captivated by art since her early years. Commencing her studio practice in 1998 after six years of dedicated study, Djakou swiftly emerged as an instructor at the sole art institution, the Intitut de Formation Artistique, in Central Africa’s Mbalmayo, Cameroon. In this role, she notably introduced the innovative “Material Technology”course into the school’s esteemed curriculum.
 
In 2004, Djakou secured a position at the Centre d’Art Appliqué in Mbalmayo, Cameroon, where she excelled as a ceramist and assumed the esteemed role of chief manager of the ceramic studio. Over the years, she has showcased her talents in numerous local and international exhibitions, garnering acclaim and recognition. By 2011, Djakou was appointed as the vice president of the craft association in her local municipality, a position she held for a commendable three-year term.
 
Subsequently, in 2013, she founded the esteemed ceramic group DECERAM, through which she undertook various commissioned works of art.
With a wealth of experience in studio practice, Djakou Kassi Nathalie has collaborated with distinguished artists in various studios, earning accolades, awards, and prizes both within and beyond the borders of Cameroon. She has also devoted her time to mentoring and nurturing young artists in Cameroon ,Nigeria, Republic of Benin, USA, Iran and Iraq.
 
Relocating to Nigeria in 2015, Djakou continued to pursue her artistic endeavors, exploring diverse mediums such as clay, bonded stone, wood, and bronze. Her artistic journey in Nigeria has been marked by numerous exhibitions, including two well-received two-man shows with Ato Arinze under the theme “BEYOND FUNCTIONS.”Since 2015, Djakou has been an esteemed member of the Society of Nigerians Artists (SNA) and, as of 2020, a valued member of the Sculptors Association of Nigeria (ScAN), participating in various group exhibitions across Lagos and Abuja.
 
In honor of International Women’s Day in March 2018, Djakou was part of a group exhibition at the prestigious Wheatbaker Hotel, curated by SMO contemporary art gallery. She further showcased her artistry in a group exhibition with Alexis Galleries in March 2019 to commemorate International Women’s Day. Notably, Djakou’s exceptional work was featured in an auction organized by SOGAL (Signature Gallery) in May 2019.
 
Djakou’s artistic prowess transcended borders as she participated in the 9th China Changchun International Ceramic Symposium and the esteemed exhibition “SAY MY NAME”in London in October 2020, in collaboration with the renowned Signature African Art gallery. She was also selected as one of the distinguished female artists from Africa for the “DEUS EX FEMINA”exhibition in Dubai from March to April 2021, and as part of a group exhibition in France with ART &EXCEPTION in June 2021 at the Grand Palais in Paris. Noteworthy exhibitions in 2023 include a group show in Cameroon at the Annie Kadji Gallery and a recent exhibition in Dubai with Art Connects Women, organized by Zee Arts Gallery.
 
In 2025, Djakou participated in the esteemed art fair, HARLEM FINE ARTS SHOW in New York City, and was chosen for the prestigious exhibition FACE 2025 in the United Kingdom. Additionally, she has showcased her works in numerous international online exhibitions with @bonartproject and @madlozigallery, gaining widespread recognition. Her artistry has been featured in various TV programs, newspapers, and magazines such as “ARTS AND ARTISTS,””CANVAS,””DAILY TRUST,””VANGUARD,”and “TVC.”Djakou’s masterpieces have been acquired by esteemed collectors in Nigeria and abroad, including HRM Nnaemeka Achebe, the Obi of Onitsha, Mr. Hakeem Adedeji, Access Bank, Indian collector Mohak Mehta, Cameroonian collector Nicole Kadji, among others.
 
Djakou’s commitment to her craft was further solidified when she became an official member of the Guild of Professional Fine Artists of Nigeria (GFA) in December 2023. She is also a proud member of the Sculpture Association of Nigeria (ScAN), VISIONS IN CLAY ARTISTS NETWORK, and the Society of Nigerian Artists (SNA). Actively engaged as a facilitator, Djakou has conducted various workshops, including the HARMATTAN workshop and sessions at the University of Abraka during a conference organized by the Sculpture Association of Nigeria (ScAN).Djakou’s unwavering dedication to her artistry was further cemented when she attained official membership in the Guild of Professional Fine Artists of Nigeria (GFA) in December 2023. She is also an esteemed member of the Sculpture Association of Nigeria (ScAN), the VISIONS IN CLAY ARTISTS NETWORK, and the Society of Nigerian Artists (SNA). Actively engaged as a facilitator, Djakou has orchestrated a variety of workshops, including the HARMATTAN workshop and sessions at the University of Abraka during a conference convened by the Sculpture Association of Nigeria (ScAN).
 
Her artistic endeavors have become the focal point of numerous academic research studies and dissertations by scholars and Ph.D. candidates across Africa (Nigeria, Cameroon, Ghana, Poland, Egypt) and the United States, particularly at the University of California, Santa Barbara. Djakou has consistently participated in a plethora of group exhibitions in Lagos, including notable showcases in 2024 at YENWA Gallery, BEYOND LIMITS, ICONS, NUDUS, and ECOBANK.
 
Her work was also selected for FACE 2025, a distinguished sculpture exhibition at the King’s Foundation in the United Kingdom. Additionally, she took part in the HARLEM FINE ART SHOW 2025 in New York City.
 
Perpetually striving for excellence, Djakou Kassi Nathalie remains devoted to producing a diverse array of captivating works across various mediums (wood, bronze, marble stone, bonded stone) in preparation for upcoming national and international art events.

Born in Bamendou (Western Cameroon) in 1996, he lives and works in Douala. Early on, he discovered a passion for painting thanks to the “Awakening and Watchtower” brochures published by the Christian organization Jehovah’s Witnesses.

In 2013, he joined the Italian Institute for Artistic Training in Mbalmayo, from which he graduated in 2016. After his art studies, he had to enter the artistic world, which was no easy feat. He began by collecting objects from Douala’s trash bins and reselling them to finance the purchase of art supplies. Later, he met the late Viking master Kanganyam, with whom he took a course to perfect various painting techniques.

In 2021, he began his career with a few Africanized copies of works by great European masters. Feraul Fosso considers himself a researcher, his artistic approach exploring heritage, memory, and the human condition.

FA’A, also known as Guillaume Albert Fogoum, has established himself as a vital voice in the contemporary artistic landscape of Cameroon. His work is deeply rooted in a critical dialogue with current societal issues. Through the concept of “Openness/Window” he not only denounces the injustices and suffering experienced by marginalized individuals but also proposes a vision of hope and future prosperity. This duality in his artistic approach is both powerful and evocative.
 
From the IFA to Tunisia
 
It was at the Institute of Artistic Training(IFA) in Mbalmayo that Fa’a discovered a space where his talent could shine after navigating a tumultuous journey through general and technical education. There, he met Jean Jacques Kante, who provided him with the keys to unlock his mind, which had been shackled by a world that failed to understand him. Upon completing his training and armed with his baccalaureate, he ventured into the professional realm as a 2D graphic designer, thanks to his older sister’s support. His thirst for perfection later drove him to embark on a new adventure in Tunisia, where he honed his skills in 3D graphics and significantly enhanced his knowledge of design. This expertise propelled him to the position of creative director at an advertising agency upon his return.
 
Back to the Canvas
 
Inspired by the iconic works of Kazimir Malevitch, Paul Klee, and Serge Poliakoff, Fa’a employs geometric shapes and vibrant colors to craft a visual language that transcends time. The characters he depicts are often portrayed in subjective postures, illustrating the daily struggles of those left behind. These figures, frequently imbued with melancholy, seem to search for an escape from their internal and external battles while embodying a profound humanity that resonates with viewers. The “Openness” or “Window” he refers to become metaphors for possibilities—sometimes revealing painful realities and other times serving as doors to a brighter future.
 
After extensively experimenting with classical painting, he chose to explore new avenues through a medium he mastered even more proficiently: the computer. Digital painting became his preferred tool for dissecting these complex themes. By adopting this modern technique, he positions himself within a dynamic that perceives digital painting not just as an innovative means of expression but also as the future of visual arts. This approach reflects a commitment to experimentation and integrating new technologies into an engaged artistic discourse. The fluidity of digital media allows him to explore the nuances of the human condition with precision and depth that captivates viewers.
 
However, this approach also raises questions about the very nature of contemporary art and its relationship with society. By using digital painting to tackle weighty themes such as social suffering, FA’A successfully creates a space for critical reflection. His work prompts us to consider how technology can be harnessed for social causes while maintaining an aesthetic appeal that attracts audiences. This raises the question: how far can one go in utilizing digital mediums to address sensitive subjects without falling into the traps of spectacle or sensationalism?
 
FA’A has succeeded in establishing a bridge between social engagement and technical innovation through his vision of openness. His work is not only a poignant denunciation of contemporary injustices but also an invitation to envision a future where these very «Windows» can lead to collective prosperity. In a world where visual arts are rapidly evolving alongside technological advancements, his oeuvre serves as a reminder that beauty can emerge even from the most wounded realities and that each opening can become an opportunity for transformation and hope.

approach exploring heritage, memory, and the human condition.

Kabhula Kabhula is a contemporary visual artist and traditional dance performer. Born on October 30, 2001, in Goma, Democratic Republic of Congo, his artistic approach is oriented toward figurative impressionism, through natural sand climbing on a support, and contemporary painting, combining typographic lines and references to enigmatic African figures (fractals).

 
His work draws its roots from the ancestral memory of the cradle of humanity (Africa, KAMA).
 
He is also committed to denouncing social injustices, atrocious punishments, violence against women, the exploitation they suffer, which contaminates them physically and morally, as well as the systematic plundering of strategic mineral resources.

Kokou Ekouagou, born in 1979 in Lomé, Togo, studied at the University of Benin (now the University of Lomé) and cultural management at the Goethe-Institut.

He develops strategies based on multicultural principles, identity, and affect, through which he offers critical approaches to dominant historical narratives and attempts to decentralize them.

His current research projects are motivated by a desire to reflect on the classifications and constructions of everyday reality.

His transmedial work encompasses painting, sculpture, photography, video, performance, and installation.

Ekouagou has exhibited at the Torrance Art Museum, Los Angeles; Ben Uri Museum, London; ZKM, Karlsruhe; Galerie Sobering, Paris; Marrakech Biennale; Guangzhou Live, China; HANGAR, Lisbon; and Atelier Gustave, Paris, among others.

He is an artist who has received several awards and whose works are part of major collections.

Muda Maxana, a writer and literary creator renowned for his poetic aura, has taken on this challenge. Based in Bujumbura, Muda recently published his latest work, Chronicles of the City.

This book is a collection of stories that reflect the very essence of Kinshasa, but not the essence of postcards. It draws us into the intimacy of the people who live there, into the secrets stifled by the hubbub of everyday life. With his vibrant pen, he captures the incomprehensible.

Onosho Success is an inspired young visual artist who began his career at a young age, self-taught. He works primarily in acrylic paint. He was born on April 10, 2005, in Delta State, Nigeria.

As an artist, I am drawn to the emotional and expressive qualities of color and texture. My works explore the connection between my emotions and the human experience, often incorporating elements of abstraction and symbolism.

Inspired by the work of Josh Hernandez, I seek to create paintings that evoke wonder and contemplation. Through my art, I hope to inspire others to slow down, observe, and appreciate the beauty of the world around us.

Her real name is MUGOLI NALUBONA Patricia, born in Bukavu, Democratic Republic of Congo, on 27/02/2001. A graduate in Information Systems at the Catholic University of Bukavu, she discovered slam poetry in 2016 but only took her first steps on stage in 2018 within the BUKAVU SLAM SESSION/PASSE MOI L’MIKE collective.

In 2019 and 2020, she performed regularly in “Autour du feu”, a weekly activity organized by the Kwetu Art Cultural Center (ECKA), as well as in the monthly slam evenings of her collective. She became a figure of female slam in her city when she won the provincial slam poetry competition organized in her city in 2022. The same year, she launched the female slam program within her collective through her very first solo show written and performed by herself.

Between 2022 and 2023, she participated in several festivals in the Great Lakes sub-region and the DRC such as the Musika Na Kipaji festival and Amani Festival in Goma, the Ngoma festival in Kisangani, the Vuga festival in Burundi, the BADILIKA YOUTH festival and Buk’art in Bukavu. After several training courses in directing and acting, she launched into theater in 2023 in a play entitled “Cri du cœur” which toured the East of the DRC

She then participated in a literary conference which brought together several poets, slam poets and writers from the Great Lakes sub-region with BENEVOLENCIA. An activist and campaigner for women’s rights, in 2024 she launched the F’ART project, which brought together four poets and slam poets from the DRC, Rwanda and Burundi around a piece entitled “Rupture” which talks about the condition of women in the war situation in the Great Lakes sub-region. She is currently the Coordinator of BUKAVU SLAM SESSION ASBL and a slam workshop facilitator.

Visual artist Samuel Mwani lives and works in Kinshasa, his hometown. Born in 1999, he holds a Master’s degree (Bac+5) in Graphic Arts, specializing in Visual Communication, from the Kinshasa Academy of Fine Arts. He specializes in urban photography. He documents artistic performances and other everyday actions or events in public spaces, including various constructions contributing to the urbanization of his city, various cultural scenes, and youth movement activities.

These images are generally the result of collaborative work between the photographer and the people depicted, demonstrating the tension between action and static images. Samuel Mwani’s work has been presented, among others, at the virtual exhibition Confinement 2.0 (2020), the Fin Etelemi Telemi Festival (2021), the Punning Foundation’s Congo Connecting (2022), the Galerie du Port de la Ciotat (2022) and the Mokili Na Poche cultural center as part of the Young Artists Residencies organized by Laboratoire Kontempo (2023). He is currently the Artistic Director of the Ciné-Club Minzoto.

Exhibition Open: 28th July - 31st December 2025

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