Which topic turns up again and again in your artistic activities?
Recollection, or Ukumbusho in Swahili, my first mother tongue, is of key importance in my work. Here, I take recourse to traces, both as a conceptual basis of my work and as material, which signal the condition of homelessness and destruction through the leaving behind of people and objects. I process biographical experiences of radical fear and loss, linked to uncertainty regarding the future. I prefer to use industrial gloss paint because of its destructive potential as a toxic paint and at the same time because of its functionality.
What do you seek to achieve with your cultural education activities?
I am above all interested in the discourse over works of art. In my cultural education work so far, for example with children in Masaka in Rwanda’s capital province of Kigali or with students in Berlin, I experienced mutual inspiration. It promotes the common artistic process and teaches us the interesting experience of communication between creators of art and recipients, which we experience in day-to-day educational work.
What, in your view, is the essence of an artistic intervention in cultural education?
From theory to practice in the course, how cultural education takes up the interface between artistic activities, pedagogical work and culture management and also strengthens my own position as an artist is of great significance to me. A further important aspect for me is to strengthen collaboration with other branches of art, keeping in mind the challenge of digitisation in educational work.