In conversation : Marcel KPOHO between Masks, Monsters, and Humanity
Originally from Porto-Novo, Benin, Marcel KPOHO (b. 1988) is a modern-day summoner. His rubber sculptures and monsters reflect human nature, the soul’s inner struggles, and the sacred. Blending forgotten myths with contemporary tales, the artist—recently celebrated at Révélation! Art du Bénin—reexamines Benin’s history and highlights its significance.
Marcel KPOHO
Ngalula MAFWATA: What are the key elements that sparked your artistic journey?
Marcel KPOHO : Originally, I am a mathematics teacher. I have always had a rebellious spirit—not by choice, but as something deeply ingrained in me. Often going according to the beat of my own drums in my opinions and approach, I frequently felt misunderstood by people my age. By contrast, I always found common ground for discussion and deeper understanding with my elders. Even today, I get along effortlessly with both the elderly and children, making me wonder whether I am young or old at heart.
I grew up feeling like an outsider, misunderstood in my visions and goals because they deviated from the norm. Who am I? Why am I here? This search for meaning and self-understanding led me to art. I observe, I learn from my experiences. My environment speaks to me—every detail becomes a source of inspiration.
Ngalula MAFWATA: How did your artistic journey begin? How did you start working with recycled tires, and what do they represent in your artistic approach?
Marcel KPOHO: I started with drawing and painting, using them to express the hidden side of human nature and individuality. The ambivalence of human beings has always fascinated me, and it still does today.
During my research, I became aware of a problem in Beninese society, particularly in my city, where tires had become part of the urban landscape, their presence normalized. That’s when I began working with recycled materials, using these tires while keeping their original black color as a symbol—representing the hidden side of humanity, the aspects that are difficult to grasp. That’s precisely why I don’t paint over them; I preserve their black hue. I see black as a neutral yet profound color, carrying a certain positivity.
The duality of human nature is reflected in our ability to present ourselves in a certain way while embodying something entirely different—sometimes even monstrosity. We encounter many people who wear masks effortlessly, shifting between appearances with great ease.
Ngalula MAFWATA: Your work highlights the use of masks and the invocation of natural elements through Vodoun. How do these practices fit into your artistic approach, and what message do you wish to convey?
Marcel KPOHO : Society forces us to wear masks in certain situations—to exist, to protect ourselves, and sometimes even to harm others. Yet, it is essential to take the time to truly know people, to enter their world. As a Beninese artist, invoking nature and its four elements through Vodoun is my way of honouring and respecting our environment. Through my masks, I perform invocations to express this spirituality while emphasising the importance of nature. My work seeks to make a positive contribution to society by merging spirituality and culture.
Vodoun, above all, is a culture—one that carries both positive and negative aspects depending on how it is used. It holds deep teachings and values that I do not compare to other spiritual practices. It is an identity, a culture with profound and essential values.
Ngalula MAFWATA: Some of your sculptures simultaneously evoke both monstrosity and humanity, reflecting a form of duality. What meaning do they convey?
Marcel KPOHO: My sculptures are a form of invocation. Just as religions externalise the concepts of God and the Devil, of monsters and demons, I reject this separation—these forces exist within us. Every human being carries both shadow and light. The forms of my sculptures express this duality, reflecting the twisted, unsettling aspects of humanity—what is often perceived as evil or demonic. Evil is an undeniable reality, an intrinsic part of our nature. God and the Devil are not external entities but energies that reside within us. The true challenge of existence is to channel these forces, to bring forth the positive and shape the image we project to society.
This is why my sculptures explore metamorphosis and the ever-changing nature of human beings, who transform throughout their lives. My work Kondo, the Shark, exhibited at the Conciergerie during Révélation! Art Contemporain du Bénin last autumn, illustrates this idea. It represents the transformation of King Béhanzin, deposed and exiled, during his time of displacement. The metamorphosis of Benin’s history during colonization is a reflection of the trials humanity has endured.
“My sculptures are a form of invocation. Just as religions externalise the concepts of God and the Devil, of monsters and demons, I reject this separation—these forces exist within us.”
Ngalula MAFWATA: Benin has been making continuous efforts to promote its art and culture and to build cultural bridges—efforts in which you actively participate. How do you perceive these connections?
Marcel KPOHO: Cultural bridges are nothing new. A striking example is the Catholic Church, which managed to spread and establish itself worldwide while maintaining its influence—thanks to art. Art tells a story; it speaks of everything. Just look at the Vatican today to understand its power. If we want to pass on our culture, we must express it through art so that it endures across generations. History bears witness to the encounters that have shaped our societies—whether through missionaries who came to evangelize Africa or, more violently, through colonial powers. The latter sought systematically to erase indigenous cultures, often demonizing ancestral knowledge as witchcraft, while their Western equivalents were regarded as science or intellectual pursuits. For years, a continuous effort was made to lead people away from this rich intellectual and spiritual heritage.
Consider the looted artworks still held in Western museums. Seeing these objects makes one realize the depth of knowledge and power our ancestors possessed, which contradicts the widespread misconception that we lack culture. Yet, very few Beninese today can access these works in Western institutions, often due to visa restrictions.
As artists, we now have the power to shift this dynamic and influence history. For too long, history has been written by those in power, not by the people subjected to it. Art gives us the opportunity to challenge the past, engage in dialogue with our ancestors, and reclaim our narrative from a fresh perspective.
Ngalula MAFWATA: We live in a unique time where we can restore historical narratives while remaining anchored in the present, beyond geography and history. Today, you navigate between Benin and Switzerland. How does this influence your artistic practice?
Marcel KPOHO: I am currently in Benin, where I reconnect with my roots—it is my home. One thing I notice is that the sacred still exists in Africa. In contrast, this dimension has largely disappeared in the West, where everything seems possible, and one can do as they please. There are no more totems, whereas here, we still have taboos, rules, and deeply ingrained cultural practices. Art is part of this sacred realm—it is an invocation, a call to nature.
Benin is where I primarily draw my creativity, nourished by the surrounding nature, my environment, and the people around me, including my fellow artists and those I meet in Switzerland. We learn from each other’s cultures. Rubber and tires play a central role in my work due to their symbolism and historical significance. These materials embody the history of Africa’s encounter with the West.
Take rubber, for example—it tells the story of the Congo, where it was once used as currency, sometimes even as a tax imposed through brutal practices like limb amputations. This history is embedded in the material itself. Our ancestors labored relentlessly, and today, rubber has replaced the physical strength that was once vital to human existence—fueling industries like transportation, with cars and wheels. These materials continue to sustain the West, yet they are not necessarily transformed at their place of origin.
Ngalula MAFWATA: Is the loss of the sacred irreversible?
Marcel KPOHO: The current state of society leads me to believe that it is already too late. Paradoxically, in the West, we live in a society of unspoken truths, where certain topics are taboo and deliberately avoided. In the same way, I do not believe that peace among humankind is a truly achievable goal—I doubt it will ever fully exist.
Marcel KPOHO, currently in Benin during this interview, is working on several pieces while continuing his studies in Switzerland.
His works can be explored at www.marcelkpoho.com, on Artsy, and in his personal spaces.
