1. Tell us about your upbringing in the Republic de Congo. How you became an artist?
Thank you for your lovely question. I am honored to introduce myself as Sisqo Ndombe Akisieful, a Congolese visual artist. I was born in Kikwit and grew up in Kinshasa, the capital of the Democratic Republic of Congo.
I discovered my passion for drawing at a very young age. Early on, I was influenced by the urban environment and its forms of expression, especially mural painting, which I gradually refined over the years. I later decided to pursue formal training in visual arts to deepen both my perspective and my practice. After several years of learning, I earned my degree from the Academy of Fine Arts in Kinshasa.
Involved in various creative disciplines, I eventually made the decision to devote myself full-time to my true passion: painting.
Art is something that comes naturally to me. Even in school, I used to draw very well, which often impressed my teachers. Growing up in a creative environment, surrounded by mural artists. I spent a lot of time observing them. In short, I’ve always been in contact with drawing, materials, shapes, and textures, and I’ve had a deep fascination with everything related to creative arts and artistic creation in general.
2 Sisqo Ndombe, Lueur d'espor, 2025, Congolese
2. What is the political climate like in your home country now? And how does it affect you as an artist?
The political climate in the Democratic Republic of Congo remains unstable and marked by inequality, corruption, and insecurity, especially in certain regions of the country. These conditions affect every aspect of life, including the arts.
As an artist, I feel a deep responsibility to speak out. My art is not just aesthetic, it’s sociopolitical. It reflects the struggles of my people, the beauty of our resistance, and the hope that persists despite adversity. The lack of support for artists and cultural infrastructure is a daily challenge, but it also pushes us to be more creative, more resilient, and more determined to claim our space in society.
3. How did your education impact your work?
My education played a fundamental role in shaping both my vision and my practice as an artist.
Studying at the Academy of Fine Arts in Kinshasa allowed me to explore different techniques, styles, and histories of art. It gave me a deeper understanding of form, composition, and the power of visual language. But beyond technical skills, my education helped me develop discipline, critical thinking, and a sense of purpose.
It also connected me with other creatives and mentors who inspired me to push boundaries and stay true to my artistic voice. Without that foundation, I wouldn’t be the artist I am today.
4. Tell us about your artistic technique. I know you paint with your fingers, how did that come about?
Yes, I often paint with my fingers and it has become a signature part of my artistic identity.
This technique didn’t come from formal training. It came from a need to feel more connected to my work. At some point, I felt that using brushes was creating distance between me and the canvas. I wanted something more intimate, more raw, more direct. So I started using my fingers, touching the paint, feeling the texture, guiding the shapes with my own hands.
I paint with my fingers to achieve specific effects, especially the cracked textures that appear on the skin of my characters. These craquelures are essential in my work, as they express inner tension, emotional fragility, and human vulnerability. The brush only comes in at the end, to emphasize certain features and heighten the emotional impact of the piece. It’s a delicate balance between control and instinct.
5 Sisqo Ndombe, Self Confidence, 2022
5. I see the influence of Amoako Boafo in your work, was that intentional?
I admire Amoako Boafo’s work and the impact he has had on contemporary African art, especially in how he celebrates Black identity through expressive portraiture. So in that sense, the influence is real but not entirely intentional.
What we share is a deep interest in the human figure, in skin, in gesture, and especially in identity. Like him, I also use my fingers to paint, but for me, it’s about creating cracked textures that express emotional tension, almost like scars on the surface of the soul. While people might see visual echoes between our works, my artistic path is deeply rooted in my own story, my Congolese environment, and the social realities that surround me.
So, I would say it’s more of a dialogue than a direct influence; a shared language with different accents.
6. Tell us what you want to convey to your audience through your work?
Through my work, I want to make people see, truly see, what is often overlooked.
The gaze is central in my artistic approach. My paintings reflect a hidden reality, the daily life of communities left behind, neglected by those meant to protect and lead them. I use expressive color and emotionally charged compositions to reveal the tension between resignation and revolt, between dignity and despair.
The cracked textures on the faces of my characters are not just aesthetic, they are silent cries. They represent the inner wounds of a people facing social and political fractures. Each painting carries a weight, a message, a truth that words often fail to express.
I want the viewer to feel that pain, to recognize that silence, and to reflect on what we choose not to see. My art is not just about beauty. it’s about awareness, empathy, and resistance.
7. Why is the gaze so important in your work?
The gaze is everything in my work, it is the bridge between the subject and the viewer, between silence and truth.
For me, the eyes carry what words cannot express. They reveal vulnerability, pain, resistance, and sometimes even a silent scream. In societies where many stories go unheard, I use the gaze to give voice to those who are often ignored or marginalized.
When you look into the eyes of my characters, you are no longer a passive viewer, you become involved. You’re confronted with a presence that demands attention, that refuses to be invisible. The gaze forces you to slow down, to feel, and to reflect. It’s not just about seeing, it’s about being seen.
That moment of connection is where art becomes human.
8 Sisqo Ndombe, Assez 2022, Congolese
8. When is your artwork the most challenging?
My artwork is most challenging when I’m trying to paint emotions that are too heavy to carry, yet too important to ignore.
There are moments when the stories I want to tell about injustice, abandonment, or suffering, hit too close to home. Translating those invisible wounds into color, form, and texture requires emotional vulnerability. It can be exhausting, even painful, because I’m not just painting others. I’m often painting parts of myself.
The technical part can also be demanding. Achieving the cracked textures, for instance, requires layers of experimentation and patience. Sometimes the paint resists. Sometimes the message doesn’t come out clearly. But I’ve learned that those struggles are part of the process. The challenge is what makes the work honest and alive.
9. What obstacles do you encounter as an artist working in your homeland?
Being an artist in the DRC comes with many challenges.
There’s a lack of institutional support, limited access to funding, and very few spaces dedicated to contemporary art. It’s not always easy to be seen or valued, especially when art is not considered a priority in society.
But despite the obstacles, I continue because creating is a necessity for me. The struggle pushes me to be more resourceful, more determined, and to turn every limitation into fuel for expression.
10. Where would you wish to live if you could live anywhere?
If I could live anywhere, I would choose a place where creativity is valued, where artists have real opportunities to grow, and where culture is alive and supported.
It could be a major art city like Berlin, Dakar, or Paris but honestly, what matters most to me is being in an environment that nourishes both my art and my soul.
That said, no matter where I go, I carry my homeland within me. My roots are in Congo, and they will always shape my vision. So ideally, I’d love to live between two worlds, one that inspires me globally, and one that keeps me grounded locally.
11. Which living person do you most admire?
I admire the work of many contemporary figurative painters.
What inspires me most is their ability to capture the human experience with honesty, emotion, and depth. I’m drawn to artists who use the figure not just to represent, but to communicate, who tell stories through the body, the gaze, the skin.
I admire those who stay true to their artistic vision, who push boundaries while remaining deeply connected to their context and culture. Their work challenges me, motivates me, and reminds me why I chose this path.
12 Sisqo Ndombe, Solitude, 2023, Congolese
12. Who are your favourite authors?
I particularly admire the work of JR and Marc Azoulay, especially their collaboration in “Can Art Change the World?”
Their reflections on art’s power to transform society deeply resonate with me. I’m inspired by authors who explore the relationship between creativity and social change, and who see art as a force beyond aesthetics, a way to challenge, heal, and unite.
Their writing helps me think about my own practice and the role of the artist in today’s world.
13. What do you like most about living in the Republic de Congo?
What I love most about living in the Democratic Republic of Congo is the spirit of the people.
Despite the difficulties, there’s a deep sense of resilience, creativity, and community. Congolese people know how to keep hope alive, how to find joy even in chaos. That energy is contagious and it feeds my art.
Living in the DRC reminds me why I create to reflect, to resist, and to celebrate.
14. If you weren't an artist who would you be? And when are you happiest?
If I weren’t an artist, I’d still be someone who tells stories and connects with people.
Maybe through writing, film, or social work, anything that gives meaning, emotion, and voice to those who are often forgotten. Creating is part of me, with or without a brush.
I’m happiest when I’m fully immersed in the act of creating, when time disappears, and it’s just me, the canvas, and emotion.
In those moments, I feel free, connected, and alive. I’m also deeply happy when someone sees my work and feels understood or moved. That silent connection between the artist and the viewer, it’s powerful. It reminds me why I paint.
16. Besides painting what talent would you most like to have?
Besides painting, I would love to have the gift of music.
There’s something magical about sound, its ability to move people instantly, to carry emotion without needing translation. I admire musicians who can express so much with a few notes or a simple melody. If I could, I’d play an instrument or sing to translate feelings the way I do with colors and textures.
Music, like painting, is universal and I’d love to speak that language too.
17. Where is your favourite place to travel? And what do you like to do on your day off?
My favorite places to travel are those that awaken my senses and spark my creativity.
I love being in cities or regions where art, culture, and human stories are alive in the streets, in the faces, in the rhythm of daily life. Whether it’s a big city full of galleries or a quiet village rich in tradition, I’m inspired by places where I can observe, feel, and reconnect.
Every journey feeds my art in a different way. But wherever I go, I always carry a piece of Congo with me.
On my day off, I like to slow down and reconnect with myself.
Sometimes I walk through the city and observe life faces, movements, colors. Other times I stay quiet, read, or listen to music. I enjoy moments of silence; they help me reflect and recharge. Even when I’m not painting, I stay close to inspiration, it’s part of who I am.
