Artist Sisqo Ndombe grew up in Kinshasa, the capital of the Democratic Republic of Congo. Despite the political turmoil in his hometown he had a traditional fine arts education. Nonetheless, his work is wholly influenced by the political climate of his country. Belgian colonization, independence and civil war and then a striving for self-determination are all factors in his work. In his figurative work, he speaks to his audience through the countenance and the gaze. Throughout, he doesn't shy away from commenting on the controversies that surround him. As he says it so eloquently, his work is "sociopolitical. It reflects the
struggles of my people, the beauty of our resistance, and the hope
that persists despite adversity."
Like Amoako Boafo he paints the skin with his fingers. Through this technique he hopes to capture the fractured identity of his people. They are vulnerable but not broken and he sees hope through their eyes. They want to be seen and heard and through their gaze, Sisqo Ndombe hopes to show how "the eyes carry what words
cannot express." More importantly, he says, "I use the gaze to give voice to
those who are often ignored or marginalized." The "cracked" technique bears witness to the injustice, inequality and a striving for change in the Democratic Republic of Congo.. In it, there is hope and Sisqo treats his figures in the most human way possible. They are full of complex emotion and they are not ready to settle for what's been given to them. Most importantly, they want to express their individuality.
These paintings are also active participants in Sisqo's aim for self-determination as an artist and we see his ambitions fully crystallized. His work has a language of its own and that's what makes his unique as an artist. A true original, he doesn't censor his emotions, instead, his figures appear strong and determined and they demand your attention. Through them he speaks for the people of his country for whom he shows great empathy. As he says it himself, the Congo is always a part of him and we can see why.
1 Sisqo Ndombe, Still waiting, 2025, Colgolese
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 Sisqo Ndombe, Regard d'un peuple fissure, 2025, Congolese
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 Sisqo Ndombe, Sacrifice, 2023, Congolese
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 Sisqo Ndombe, Fake News, 2024, Congolese
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 Sisqo Ndombe, Deaf Lantern 2022, Congolese
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 Sisqo Ndombe, L'introvertie, 2022
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 Sisqo Ndombe, The Day After 2022
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 Sisqo Ndombe, Breaking news, 2021, Congolese
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 Sisqo Ndombe, Manono, 2022, Congolese
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 Sisqo Ndombe, Nos regards, 2025, Congolese
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.
15 Sisqo Ndombe, Witness, 2023, Congolese
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.
16 Sisqo Ndombe, Lonely, 2022, Congolese
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.
