Christophe PERSON : “Passion is a Key factor”, a strategic vision for collectors & the market
It is in the quietness of a small street of the vibrant Marais district in Paris that stands Galerie Christophe PERSON, a haven dedicated to arts made, guided by a clear vision intertwining deep narratives and aesthetics. Christophe PERSON, gallerist and co-founder of the BISO Biennale, is committed to promoting contemporary African art while exploring the nuances of a market he perceives to be transitioning towards a phase of stabilisation after a long decade of significant upheaval. In a compelling exchange with MAYÌ ARTS, Christophe PERSON shares his unique perspective on the evolution of African art and the keys to building a successful collection.
Ngalula MAFWATA: How does your story with African art begin ?
Christophe PERSON: I started engaging with African art about ten years ago after a traditional career in finance. My journey into art began in London, where I followed a course at Christie’s. There, I delved into art history as a whole and the art market, and I quickly sensed the imminent emergence of African art. In 2016, upon returning to France, I joined auction house PIASA where I established the African Art department at a time when this category was gaining significant attention—a phenomenon that has only grown ever since. My vision at PIASA was to integrate contemporary African art into generalist collections. In the past, collectors of African art often formed a niche group, purchasing works more out of affection for Africa or developmental concerns than a genuine appreciation of it nor understanding of the art itself. Hence, I found it intriguing to take a different approach: to convince high-caliber collectors that African art is a crucial category to include in their general collections. After a stint at Artcurial, I eventually decided to branch out on my own and opened this gallery two years ago, in December 2022.
Ngalula MAFWATA: It seems like it required a certain flair to foresee this rise. Based on what you’re saying, should we reconsider the "Contemporary African Art" label—perhaps moving away from it—or instead embrace it as a geographical anchor to unify the movement?
Christophe PERSON: Looking at the history of art, you see that things evolve, just as our perceptions do. This applies to the creative process, the production by artists, and the way we market art. It is not necessarily about dismissing what has been done in the past but rather recognising it as part of a broader dynamic. Nobody has the crystal ball to predict what will happen in the next decade. Everyone follows their instincts, and I believe that after a decade of exuberance, things will stabilise somewhat. Also, we have seen certain drawbacks—for example, some artists were in such high demand that they were tempted to replicate each other’s work to meet market expectations. That’s exactly what shouldn’t happen.
Collectors are always seeking novelty, and this is something we try to convey to artists, who are often distant from market demands, which are primarily in the West. The idea that an artist should rush into what seems to be working now is a terrible one, I would not recommend. Authentic inspiration comes from within, especially for African artists who have a rich individual and collective history. That’s the story worth telling, rather than producing works tailored to current market tastes, as these tastes can change at any moment.
This is the challenge of a particularly dynamic market, but I firmly believe that one should always stay true to their vision rather than create just to please.
“In the past, collectors of African art often formed a niche group, purchasing works more out of affection for Africa or developmental concerns than a genuine appreciation of it nor understanding of the art itself. Hence, I found it intriguing to take a different approach: to convince high-caliber collectors that African art is a crucial category to include in their general collections. ”
Ngalula MAFWATA: Why start a collection and what are the first steps to engage in ?
Christophe PERSON: In my opinion, it is a very personal process. Often, people collect art because they feel a personal connection with the artist through a piece. Just as one might appreciate music, cinema, theatre, or literature—all arts that ignite emotion—I think visual arts like painting, sculpture, drawing, and photography have a similar effect. Beyond the speculative dimensions, it is really about connecting with art on an emotional level, which is fortunately what many collectors focus on. Debuting a collection is a lifelong project. Partnering with galleries is a good first step to refine one’s choices and tastes. The idea is to work closely with gallerists to build a collection that reflects one’s identity and can be developed over time.
Ngalula MAFWATA: Can the same approach be applied when it comes to emerging artists compared to well established ones ?
Christophe PERSON: Passion is a key factor when starting. If someone aims to purchase one or two pieces a year, they should buy what they genuinely love. Prolific collectors, however, tend to have a more considered approach, aiming to understand how an artist or piece fits into their collection. Some collectors focus on specific themes, such as figurative or conceptual art, the latter being less about aesthetics and more about conveying ideas. All approaches should be respected. It is true that the more resources a collector has, the more they seek to ensure their acquisitions align with a certain historical continuity—not necessarily for speculative reasons, but out of a conviction that they have found something relevant to its time, when looking back.
Ngalula MAFWATA: Today, there’s a perception that Contemporary Art is drawing in new audiences but still retains an intimidating aura. How can we engage with art outside traditional galleries?
Christophe PERSON: It is unfortunate that Contemporary Art can feel intimidating, as it is often associated with certain eccentricity, both in the works themselves and the crowds around them. We need to return to its true definition: contemporary art is simply the art being created today. It gives us insight into the artist’s reality, which may be entirely different from ours, depending on their environment, social background, or location. Viewing or acquiring a piece of art is, in essence, like encapsulating the present moment.
Fleeting Feelings
“We live in an era dominated by fleeting images, which unfortunately relegates art criticism to the background. However, criticism remains essential for understanding an artist’s work and identifying contemporary movements.”
Ngalula MAFWATA: Certain forms, like Black Portrait or figurative art, seem to be more prominent to the broad public than others, how can this be explained ?
Christophe PERSON: Black Portrait has indeed been revolutionary. It resonated with the market because collectors were long accustomed to seeing Black subjects in art, but these were usually created by white artists and depicted in fetichiced ways—what we call Orientalist art, born of a kind of fantasy. About a decade ago, a shift began to operate with many artists seeking to represent themselves, offering a radically different perspective on their identities. In the art world, anything new tends to grab attention. The pioneers of such movements are often the most impactful, while those who follow later on might not achieve the same quality. Despite this, the surge in Black Portraiture captivated and intrigued the crowds. I do believe things will settle now, and both artists and gallerists are well aware of this.
Ngalula MAFWATA: Does that mean other trends will come into focus?
Christophe PERSON: It is hard to predict emerging trends, but I think textiles will play an important role. There’s also potential in the intersection of art and craftsmanship, which is deeply rooted in Africa. Some artisans in Africa are capable of drawing from their craft to create exceptional works. Patterns, for instance, are culturally significant in Africa but have often been relegated to the background, both literally and figuratively. Many contemporary artists have placed figures against printed, geometric backdrops. But artists like Paul NDEMA are reversing this trend by bringing these motifs to the forefront and exploring their narrative potential. While we might label this abstract art based on our existing frameworks, it requires a fresh, contemporary term as NDEMA’s intent isn’t to create abstract art—it is just how the results manifest.
Paul NDEMA
Ngalula MAFWATA: Do you think art criticism still plays a crucial role in understanding and elevating artists' work today?
Christophe PERSON: We live in an era dominated by fleeting images, which unfortunately relegates art criticism to the background. However, criticism remains essential for understanding an artist’s work and identifying contemporary movements. It is crucial for people to take the time to reflect and write about these artists. This process is necessary—perhaps even insufficient at present—especially when considering an artist’s legacy. There’s the initial creation, and years later, we revisit these works, distinguishing what holds lasting relevance. This sorting process will happen, but it requires resources, as it won’t occur on its own.
Ngalula MAFWATA: Does this favour shorter, even fleeting careers?
Christophe PERSON: The market is subject to economic fluctuations. We have recently experienced a favorable period for art, benefiting all its forms, including African art. However, we are now seeing a slowdown. In euphoric times, people eagerly acquire images, whereas in our present times, an artist’s narrative holds more weight. In my view, there’s growing demand for artists with strong developmental potential. You can’t keep repeating the same thing for thirty years. The distinction lies in artists who have done compelling work in the past five years and have the potential to evolve further—and not everyone can do that.
Nyaba Leon OUEDRAOGO
Ngalula MAFWATA: The resurgence of online activities has also added a new dimension to the market. What’s your perspective on this shift?
Christophe PERSON: Today, there are three main sales channels. Galleries remain the premier space to showcase an artist’s work or a group exhibition. They allow for detailed catalogues and artist portraits. Even if gallery sales aren’t always strong, this is where the most significant work happens. Art fairs, by contrast, are intense and offer opportunities to meet people you wouldn’t encounter in galleries, expanding networks. However, fairs can feel overwhelming, like an art supermarket, with an accumulation of works and fierce competition. As for digital platforms, simply posting is not enough. While it is not entirely free, making it effective requires time, resources, and dedication. For gallerists, the real challenge is managing energy and resources across these fronts.
Ngalula MAFWATA: Many artists are also taking on entrepreneurial roles, managing their online relationships directly. What’s your take on these dynamics, where artists and collectors sometimes interact directly?
Christophe PERSON: No matter how talented an artist is, balancing creation, self-analysis, and marketing is challenging. While direct sales based on images can be effective for a time, building a long-term career and gaining institutional recognition is harder to achieve alone. It is possible for artists to sell their works independently, but I’m skeptical about the longevity of this approach. Gallerists add significant value to this process.
Ngalula MAFWATA: Which artists or trends inspire you currently?
Christophe PERSON: I’m inspired by artists who reinvent the familiar. Like those in Black Portraiture who redefined the movement. Few artists tackle still life, though it’s common in museums. Fally SENE SOW from Senegal, for instance, unintentionally began creating still-life works. He reinterpreted the genre, giving it a fresh meaning. While Western culture often associates still life with themes like vanity and the end of life, SENE SOW offers a contrasting perspective of rebirth. Symbols like skulls, linked to death in the West, represent the promise of a new ecosystem to him.
I also admire artists who explore themes of heritage, displacement, and transition. Burkinabe artist Abou SIDIBÉ, for example, examines the upheavals of moving from rural to urban areas and vice versa. His works reflect universal questions about life choices: Was it the right decision to leave? What was gained or lost in the process? These artists masterfully capture personal and collective journeys, revealing that from Ouagadougou to Paris, our questions are often the same.
Find out more about the gallery and artists on www.christopheperson.com
