“ One of the effects of the Congo Civil war meant a lack of electricity. This led to the necessity of oil lanterns. Initially, as a child, I repaired lanterns for the neighborhood as a means of income. As I began developing artistically, I started collecting old lanterns and other objects from the garbage, deconstructing, and reconstructing them into creatures to represent human beings and personal experiences. What started off as a necessity of life became my inspiration and a form of artistic expression for me".
Bio
Masela Nkolo is a Congolese-born, Atlanta-based multidisciplinary artist whose work spans installation, sculpture, textiles, and performance. By reclaiming discarded materials like oil lanterns, screwdrivers, and doors, Nkolo crafts totemic figures that resonate deeply with his personal experiences, offering a syncretic interpretation of classic African art.
Growing up during the Congo Civil War, Nkolo’s art profoundly reflects themes of resilience and transformation. His journey draws from the rich cultural heritage of the Congo, influenced by both African tribes and modern art. Through his work, he creates a vital bridge between past and present, celebrating identity and advocating for peace and social justice.
Nkolo's thought-provoking pieces have been showcased in esteemed galleries, including Johnson Lowe Gallery in Georgia, Agora Gallery in New York, MOCA in Georgia, The Mint Museum in North Carolina, and ArtFields in South Carolina. Each exhibition highlights his commitment to using art as a vehicle for dialogue and healing, inviting audiences to engage with cultural memory and the enduring human spirit. Masela Nkolo stands as a powerful voice in contemporary art, championing narratives of hope, transformation, and community connection.
Statement
My recent work involves transforming oil lanterns, doors, cabinet doors, screwdrivers, and other used random objects. With these materials, I deconstruct and reconstruct them into creatures. These creatures represent the past and contemporary identity of Congo, my motherland, as seen through my personal experiences and memories. My representations of the creations incite an appreciation of self and also a way of relearning to celebrate ourselves.
My process of using screwdrivers is inspired by Kongo" Yombe" practice called “Bibaaku,” which is the action of inserting nails or pieces of metal into a Nkisi. A Nkisi is a Congolese statute that is used to bind an agreement, keep away malevolent spirits, drive away people intent on doing harm, or prevent or cure illnesses. With the Nkisi nails indicating the number of times the sculpture was ritually activated.
The screwdrivers which I used as a child during the civil war as a means of protection, are now disconnected from their primordial use as a weapon. Being used within another context, the efficacy of the screwdrivers are for the aesthetic, philosophical and emotional dimension on my masks. In the same way the nails are inserted into the Nkisi, the welded screwdrivers on my masks indicate the number of times my sculptures are ritually activated positivity rather than violence and its forms within my community.
When I create sculptures and installations, my goal is to manifest these ancestral characteristics so that they can hopefully become visible within our communities and our world. My passionate desire is to create artworks that can be a source of excitement for one and escape for another.