We delve into the world of Pitsho MAFOLO (b.1977), a Congolese visual artist whose style is deeply rooted in spirituality and a return to origins. Mysterious, sacred, and distinctive, Pitsho MAFOLO’s art tells a story—one of the Congo, its roots, its forgotten masters, and its present challenges. In this exclusive conversation, he shares his story, inspirations, and the challenges of the art market in Congo.

Ngalula MAFWATA, MAYI ARTS: How did your journey with art begin?   

Pitsho MAFOLO:  I’ve always had a creative sensitivity from a very young age. My father was a diplomat, so I spent my early years in Dar Es Salaam, Tanzania. I had an explorer’s spirit and loved working with materials, like modeling clay. I enjoyed creating and telling stories, which my mother noticed early on—she was a woman who loved working with textiles and had an impressive visual sense. As I grew up, I developed other interests and aspirations, even dreaming of becoming a pilot. However, my skills in mathematics weren’t the best, while drawing was something intuitive for me. Art allowed me to travel differently, inwardly for inspiration and outwardly through opportunities, exhibitions, and discoveries. It was at this age that I began my studies at the Kinshasa Academy of Fine Arts. I was 14 at the time.

 MA: What memories do you have of the Kinshasa Academy of Fine Arts?   

 PM:  I was an atypical teenager, even outside of art. My way of being and behaving was already out of sync with my peers. I was going against the current. At the Academy, I started with line work and sketches. The lines were quite childish at first, so I had to develop my technique and initially started painting. It wasn’t until later that sculpture came into play as I was also learning digital modeling.

 MA: How did your distinct style emerge?   

PM:  My artistic practice is the expression of my life. It’s like telling the story of my life. Like everyone on earth, I am unique. Therefore, my artistic expression must also be unique. I express my entire life, my being, and all my thoughts through this art. It tells something unique, reflecting my individuality. It’s essential to highlight my sense of identity through my art. Without identity, how could I situate myself in society today? I simply define myself as an African visual artist. I strive to write the history of the contemporary world through visual arts.

Trials, Tribulations and Rebirth

MA: There’s something sacred in your art, a sense of reflection, and your works exude a calm form, with totems visible on some canvases. What role does spirituality play in your process?   

PM:  Spirituality is something I’ve always maintained since I was young. It’s what makes me who I am today. Spirituality has always helped me recover from existential tribulations, such as the loss of my father, my mother, or my divorce. It’s thanks to spirituality that I’ve been able to bounce back each time. Without spirituality, I wouldn’t be able to cope with today’s realities.

MA: How have these trials impacted your artistic practice?   

PM:  For a period, I had to stop creating art to focus on family responsibilities and raising my two children. However, I couldn’t separate myself from being an artist—it’s part of who I am. During those thirteen years, I would study at night or whenever I had time to keep developing and adding value to my work. After my divorce, I spent two years (2017-2019) isolated in a house, dedicating myself to personal and artistic development. This time allowed me to redefine my style, marking a new beginning. A gallery believed in me and supported me during this period. While in Spain, I took time to rebuild myself and process my grief. In the face of life’s challenges, we’re presented with both good and evil. I chose good, which at the time meant reconnecting with my inner anchors. I still made time to go out and stay connected to life. During one of these outings, I met a sculptor who recommended Tony Robbins’ book Unlimited Power, which introduced me to NLP (Neuro-Linguistic Programming). It transformed my worldview, my communication, and even my artistic practice.

 MA: You seem more at peace now.   

 PM:  Today, I know how to nurture my inner garden and bring joy to others from within. I am very free, even in my relationships, which has liberated many things. This freedom allows me to nourish myself and give the world the best of me, not the other way around. It has a narcissistic side.

 MA: Perhaps you’re self-aware and have accepted it. Is this self-awareness and transparency?   

 PM:  Perhaps...
MA: Also, being an artist doesn’t necessarily align with traditional life paths...   

PM:  Absolutely, especially in our society, where it’s often frowned upon. You can be called anything. Fortunately, I don’t depend on the world’s opinion—I rely on my own opinion to move forward.

 MA: Do you still feel this stigma?   

 PM:  No, I’m doing well, and I’m surrounded by people who are also in search of what nourishes the soul. They share the same paradigm. I don’t feel judged or stigmatized.

“In the face of life’s challenges, we’re presented with both good and evil. I chose good, which at the time meant reconnecting with my inner anchors.”

Identity and Authenticity

 MA: What does the presence of women, very prominent in your work, evoke for you?   

PM:  My work speaks of humanity. Women occupy a significant place in my art because the perception of women today is not the same as our ancestors had. Women were magnified to such a level that we elevated them to the status of queens. A society that cannot recognise the greatness of women cannot elevate them as queens. Pre-colonial African society recognised this role and placed women accordingly. Today, when I see how African women fight feminist battles, I believe they must reconnect with their history.

MA: What is your view on feminism?   

PM:  The feminist struggle in the West is not the same as in Africa. In Africa, the struggle is to reconnect with history, whereas in the West, it’s about recognising women’s place in society—these are somewhat divergent. Afro-descendants might identify more with the Western perspective because they feel more Western in their minds or with the African one to reclaim the place taken from them by colonization and the dominating religions. That’s the presence of women in my paintings. The women on my canvases, these magnified women, are strong. Today, I also incorporate men with androgynous forms, referencing a society that increasingly blurs the lines between male and female. These forms are open to interpretation.

MA: Similarly, some colours, like gold and blue, frequently appear in your work.   

PM:  Gold evokes the sacred, the spiritual, and the immaterial. The golden silhouettes on my canvases symbolise a person in harmony, someone aligned. When I use colours, like in painting nature, I highlight the immaterial side that animates everything. Nature is driven by an invisible energy, and as humans, part of nature, we are animated by the same energy.

MA: It’s a language, after all. In society, we wear masks, we’re full of colors... The authenticity you speak of is being gold and silver—it’s being oneself. Ultimately, is this quest for absolute authenticity your life’s mission?   

PM:  Absolutely. This true, real pursuit of the sacred motivates me. In fact, throughout my life, I’ve experienced Congo in various forms—from the inside, from the outside. As a child, I saw the sacred side of the country that weighed on our consciousness and way of thinking. As I grew older, now at 47, I see how much Congo has lost its sacredness, both from the inside and the outside. People are kidnapped to sell their organs. Even organs have become commodities for profit. We see how much the sacred has been lost, how man has lost the sacred in Congo. Life hangs by a thread. Reclaiming the sacred and restoring it to its rightful place is truly a cultural duty.

A difficult market

MA: What is your view on the art scene in Kinshasa?   

PM:  The Kinshasa art scene has always been orphaned by one fact: we don’t have an art market in Congo. We’re not seen at fairs like Art Basel with strong Congolese representation. At the Venice Biennale, our pavilion was closed, while other countries showcase their cultural grandeur. Steve BANDOMA, Eddy EKETE, who were present, had to return empty-handed despite it being the world’s biggest showcase. We need to create this market. The Academy of Fine Arts trains talents who have no outlet. From my class of one hundred, I’m the only one left today. It’s not because they weren’t talented—on the contrary, they didn’t have access to resources to enter the market. Only those with a certain awareness can carve a path. Neighboring countries like Côte d’Ivoire, South Africa, Senegal, and Nigeria are far ahead. In Congo, we’re still in the market of African souvenirs. The vision is quite colonial and artisanal.

 MA:  How can we improve this situation?  

 PM:  We need to create partnerships with those who wish to build this cultural industry. We should integrate artists into collections rather than presenting their work from a purely artisanal perspective. There are platforms like the Symphony of the Arts, to which I owe a lot, including the recognition of my peers. We must learn to collaborate instead of just seeking personal recognition. For example, establishing an independent structure separate from institutions, with funding injected from outside, and creating incubators. The market shouldn’t rely solely on those currently present. Take Eddy EKETE as an example; he brought his environmental project to an international level and created the KinAct Festival, which attracts international participants, but Congo has not kept up. We must do better.

MA:  That’s a very entrepreneurial approach.  

PM:  Yes, and young artists need to be aware of this. For instance, Nigeria recognizes the cultural heritage value that Congo possesses. Congolese artists don’t have a market or patrons; in Nigeria, artists have patrons and support from banks. They can live comfortably. As for me, I work with Melrose Gallery, which has a very humane approach. They also facilitate my residencies. I entrust them with collector relations because I don’t want to be influenced in my practice. I only discuss money when I’m involved in a collaborative project; otherwise, I leave that to those who represent me. I wish I had this worldview in my early thirties, but I like to say that in art, there is no age. The body ages, but deep down, I remain a child, and that’s what allows me to create. It’s the child within me that enables me to be an artist.

MA:  What are you working on at the moment?  

PM:  I am developing a concept with plastic to address the issue of environmental degradation and to question the way we humans use this material. This will take the form of installations or costumes, depending on the elements I am currently composing. It’s a new development that is actually an extension of my exploration of costume design that began in 2021, which I had the opportunity to exhibit at AKAA.

 MA:  What do you wish to communicate through your art?  

Pitsho MAFOLO:  Through my art, I share the vision to become whole again, as we were before colonisation. We need to become whole once more; we are not whole right now. We are a mosaic, and while this mosaic has positive aspects, we must have the backbone that is our original culture. We need to reconnect with ourselves and our relationship with nature.

 Final Tribute 

You can find the work of Pitsho MAFOLO at Melrose Gallery and on Artsy.