An interview with Lok Kandjengo

An interview with Lok Kandjengo

By Martha Mukaiwa

In Lok Kandjengo’s (b.1988) linocut and cardboard print reflections, Namibia is a place of post-colonial complexity, cultural erosion and youthful aspiration. Born in Ongwediva in 1988, Kandjengo left his comparatively rural upbringing to pursue visual art studies at Windhoek’s John Muafangejo Art Centre and later at the College of the Arts. 

These distinct experiences are reflected in Kandjengo’s work which depicts bucolic scenes of cattle, village life and pots boiling over home fires, in contrast to images of the city’s grand house of parliament, the metropolis’ car-lined city streets as well as the co6rrugated iron avenues of Windhoek’s townships. 

In some of his trademark prints, Kandjengo—an avid motor vehicle enthusiast—places the modernity of a 4-wheel Jeep within Namibia’s timeless natural landscape and an old school VW Bug, his dream car, astride Swakopmund’s enduring German colonial architecture. In another print, a black and white Casspir, an armoured military vehicle, looms over a mother and child in pre-independent Namibia. 

Other images that recur in Kandjengo’s work include traditionally dressed women, especially matriarchs, as well as Namibia’s youth. Occasionally presented as content but more often as despairing, due to poverty, homelessness and Namibia’s high rates of youth unemployment, the youth of Kandjengo’s colourful frames is, at times, disconnected from traditional culture, in search of identity or hustling in the big city.

Both honouring and revising the Namibian visual art tradition of cardboard print—a practice that was brought to prominence by seminal Namibian artist John Muafangejo—Kandjengo’s particular technique is rooted in local artistic legacy yet highly reflective of Namibia’s post-colonial reality, the nation’s present-day challenges, it’s diverse identities and its proud cultural heritage. 

Kandjengo’s hope for his art is that it “fosters dialogue, challenges perceptions, and resonates with audiences on a personal level”. 

Martha Mukaiwa speaks with the artist for ARAK.

Why do you make art, and when did you first start making art?

I make art as a form of self-expression and to explore complex themes that resonate with my experiences and observations. I started making art at a young age, influenced by my surroundings and a desire to communicate ideas that words sometimes fail to capture.

What would you say is original about your work, and how do you reconcile influence and innovation?

My work combines traditional techniques with contemporary themes, creating a unique fusion that reflects my cultural background. I embrace influence as a foundation while striving for innovation through personal interpretation and experimentation.

Tell us a bit about your training. Are you self-taught, shaped by institutional values?

My training has been a blend of formal education and self-directed exploration. While I gained valuable skills and knowledge in an institutional setting, personal exploration has been equally important in shaping my artistic voice.

What are some of the key themes, colours, materials and interests animating your work?

Key themes include identity, resilience, and cultural heritage. I often use vibrant colours and mixed media, incorporating materials that reflect both my African roots and contemporary contexts, such as textiles and found objects.

What do you think is the relationship between art and society?

Art serves as a mirror to society, reflecting its complexities, challenges, and aspirations. It can provoke thought, inspire change, and foster dialogue about pressing issues.

What does the term 'Contemporary African Art' mean to you?

Contemporary African Art represents a diverse and evolving expression of African identities, experiences, and narratives in today’s global context. It challenges stereotypes and showcases the continent's dynamism.

What role do you think art institutions play in shaping the discourse around Contemporary African Art?

Art institutions play a crucial role in elevating African artists and fostering critical discussions. They can help to legitimise and promote diverse voices, but they must also be mindful of inclusivity and representation.

Do you see a relationship between art and activism within the context of Contemporary African Art?

Yes, art often serves as a powerful tool for activism, raising awareness about social injustices and inspiring collective action. Many contemporary African artists integrate activism into their practice, addressing issues such as inequality and human rights.

Do you think that African art is a global game-changer?

Absolutely. African art challenges prevailing narratives and introduces new perspectives, influencing global art movements and encouraging a reevaluation of cultural hierarchies.

How does geopolitics factor into the making of art?

Geopolitics significantly impacts artistic expression, as it shapes the contexts in which artists operate. Issues like colonial legacies, migration, and globalisation inform the themes and messages conveyed in art.

Do you have a sense of your audience? How important is the consideration of an audience when making art? 

Yes, I consider my audience, as art is a form of communication. Understanding who engages with my work influences the themes I explore, but I also prioritise authenticity in my expression over audience expectations.

How does Africa or the African diaspora factor into your work?

Africa and the diaspora are central to my work, informing my identity and artistic narrative. I draw inspiration from the rich cultural heritage and contemporary experiences of these communities.

What role do you think criticism/art writing plays in the contemporary art market? What does it mean for your own practice?

Criticism and art writing are vital for contextualising and legitimising artworks. They can influence public perception and market dynamics. For my practice, they provide valuable feedback and can deepen the understanding of my work.

This interview has been edited for brevity and clarity.

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