The phone buzzed, shattering the afternoon calm. It was an unexpected call, one that sent a jolt of excitement through me. On the other end, a familiar voice – Grady Chérin, daughter of the legendary Congolese artist Chéri Chérin. The invitation was simple yet extraordinary: an exclusive interview with the maestro himself, scheduled for the following day.
For our platform, this was nothing like a routine interview, but a potential turning point. The call set off a journey that took us to the heart of the lively Masina district. We found ourselves on the doorstep of his home, a place where creativity seemed to buzz in the air. Here, under the same roof where Chéri’s talent blossomed, Grady, like a flower in bloom, is now cultivating her own artistic path.
Awaiting Chéri’s arrival, we seized the chance to engage with some of his protégés, including Grady—four artists whose talents and inspirations were a testament to their mentor’s influence. Their stories, shaped by Chéri’s visions and admiration, struck a chord with us, emphasizing art’s capacity to catalyze societal change. These exchanges provided an insightful glimpse into Chéri Chérin’s enduring legacy as an artist, a mentor, and a visionary guardian of Congolese culture.
Moments later, Chéri Chérin himself made his entrance, heightening the room’s sense of anticipation. We were about to engage in a dialogue with a master whose work disrupts societal norms through a unique blend of satire and aesthetics.
Kitokongo: It’s a privilege and an honor to be here with you in your home, Chéri Chérin. Thank you for welcoming us. Could we begin by exploring your background and the journey that led you to become known as Chéri Chérin?
Chéri Chérin: Thank you for being here. Well, my real name is Kinkonda Joseph Kubutuba, but I’m known in the art world as Chéri Chérin. This name encapsulates the essence of my identity as an artist. In fact, “Chérin” is an acronym standing for “Creator of Exceptional, Remarkable, Incomparable, and Naturalist Expressions,” while “Chéri” reflects my passion for excellence in art and serves as a symbol of the artist’s public persona. In my culture, “Chéri” is a term of endearment, expressing profound affection and appreciation.
Chérin is an acronym standing for “Creator of Exceptional, Remarkable, Incomparable, and Naturalist Expressions,”
Kitokongo: Can you tell us about your journey in the arts?
Chéri Chérin: I was born with a pencil in my hand, art flowing through my veins. After primary school, my father envisioned a future for me as a priest in the Catholic Church. To pursue this path, he sent me to a seminary located 12 kilometers from Kengue in the Kwango province. However, the Jesuits there quickly recognized a different calling within me—my undeniable talent for drawing. I would draw incessantly, capturing everything I saw around me. Gradually, they realized that art, not priesthood, was my true destiny. They facilitated my transfer to the Académie des Beaux-Arts (Academy of Fine Arts aka ABA) in Kinshasa, where I studied ceramics.
I was born with a pencil in my hand, art flowing through my veins.
Kitokongo: Why ceramics? That is quite an unexpected turn. What drew you to that craft?
Chéri Chérin: Painting was already second nature to me; the techniques were intuitive, learned from no one but myself. Thus, studying painting seemed redundant, almost a waste of time to me. Instead, I chose to explore ceramics, finding it not only fascinating but also a means to broaden my artistic horizons. Throughout my tenure at the academy, I immersed myself entirely in the craft of ceramics, putting painting on hold. It became a significant venture, enriching my artistry and introducing me to a realm where I found unexpected joy and talent. Regrettably, only a few of my ceramic works are available to showcase. Notable among them is the grand bakery in Masina, a testament to my venture into ceramics in the late ’70s, and a commissioned bas-relief at Karay’s residence, reflecting my versatility and pride in this craft. Their existence today might be uncertain, but they stand as pivotal marks of my journey in ceramics.
… Thus, studying painting seemed redundant, almost a waste of time to me.
Kitokongo: How long did you work with ceramics, and when did you find your way back to painting?
Chéri Chérin: Ceramics accompanied me throughout my time at ABA. However, upon completing my studies, I immediately returned to my first passion: painting. I resumed advertising painting, creating art in public squares and bars across Nganda; Kinshasa. Unbeknownst to me at the time, I was already delving into what would be known as “Peinture Populaire,” though it was still referred to as Art Naïf—French for naive art. My creations always depicted everyday life, infused with a hint of satire. This approach began to evolve further when I moved to Brazzaville.
Kitokongo: Why Brazzaville, and what did you do there?
Chéri Chérin: The move to Brazzaville was largely influenced by Karay, a figure who saw potential in expanding my artistic horizons. Once there, I took a pioneering step by setting up the city’s first painting workshop, marking the beginning of my mentorship role. Significant commissions during my time in Brazzaville stood out in particular; one of them was a portrait I painted of the late president of Congo Brazzaville, Marien Ngouabi, which was proudly on display at the Revolution Stadium. Following this, I created portraits of Denis Nguesso, the then-new head of state, and his mother, Émilienne Mouébara. These works signified a pivotal moment in my career, symbolizing the start of a flourishing period. Encouraged by these achievements, I eventually made the decision to return to Kinshasa, carrying with me the experiences and accomplishments from Brazzaville.
Kitokongo: Very interesting! Despite my research, I’m learning new facets of your story today. Please, continue.
Chéri Chérin: After returning to Kinshasa, I had the good fortune of crossing paths with Lilia Bongui, a Belgian cultural curator with Congolese roots, who had a deep commitment to recognizing and supporting talented painters ignored by the Congolese cultural institutions. She became my first true supporter, believing not only in my potential but also in that of my friend Shula Mousengo, an equally exceptional painter. Lilia was instrumental for us; she financially backed our endeavors, procured canvases, secured quality materials, purchased our creations, and even facilitated our introduction to the European art scene.
Kitokongo: At that time, was your artwork identified as “Peinture Populaire”? or was there a specific event that solidified its status within the art community? Could you perhaps share how the “Peinture Populaire” movement was born?
Chéri Chérin: Yes. It was already acknowledged and labeled as such. In the mid-70s, a pivotal gathering was orchestrated by Mr. Badi, a poet and art critic, who initiated a meeting of minds between Academy of Fine Arts graduates and self-taught painters. At that time, the art community only recognized ABA graduates as true artists in their field, sidelining others as mere craftsmen, largely ignored and undervalued. Despite being an ABA alumnus, my focus wasn’t on painting, leaving me outside the academic artist’s definition.
Among those present were Shula Monsengo, Chéri Samba, JP. Mika, Chéri Benga, Pambu Bodo, Moke, myself, and others. This assembly heralded the inception of popular art as a movement. It’s an art form that springs from and speaks for the people, challenging and moving beyond the narrow academic definitions to make art accessible and inclusive for all. The “Art Partout” exhibition in 1978 in Kinshasa was a defining moment, publicly cementing the concept of “Peinture Populaire” and showcasing it as a vibrant expression of the people’s voice.
At that time, the art community only recognized ABA graduates as true artists in their field, sidelining others as mere craftsmen, largely ignored and undervalued.
Kitokongo: Following your insights on the emergence of “Peinture Populaire,” could you delve deeper into the ideological underpinnings of this movement? What is “Peinture Populaire”?
Chéri Chérin: “Peinture Populaire” is not just an art movement; it’s a vibrant testament to the lived experiences of our communities, standing in contrast to the conventional norms set by institutions like the Academy of Fine Arts. This movement arose not merely as a rejection of academicism but as a celebration of our cultural narratives, offering a fresh perspective that diverges from Western painting traditions. By focusing on the everyday, artists within this movement draw inspiration from the urban landscape, weaving tales that reflect the social, religious, and political fabric of our lives.
Our art serves as a dynamic mirror to society, incorporating elements from legends, myths, and even the whispers of rumors, to create a rich, multi-layered narrative. What truly sets “Peinture Populaire” apart is its embrace of satire and humor, allowing us to address complex themes in a manner that’s accessible and relatable. This unique blend of critique and comedy challenges viewers to engage with our work on a deeper level, sparking dialogue and reflection.
In essence, “Peinture Populaire” transcends the boundaries of traditional art forms, establishing itself as a unique school of thought that champions the authenticity and diversity of Congolese culture. It’s an artistic declaration of our independence, asserting the right to portray our realities through our own lens, free from the constraints of foreign artistic standards.
It’s an artistic declaration of our independence, asserting the right to portray our realities through our own lens, free from the constraints of foreign artistic standards.
Kitokongo: As one of the founding figures of “Peinture Populaire,” can you elaborate on how you’ve nurtured this school of thought and fostered a thriving community around it? Beyond the artistic expression itself, what steps have you taken to ensure its legacy for future generations?
Chéri Chérin: My journey into art wasn’t learned; it was inherent, as I’ve mentioned before. Yet, recognizing the importance of preserving “Peinture Populaire” for future generations, I’ve embraced mentorship wholeheartedly. This commitment has seen my own daughters and even my nephews following in my artistic footsteps, embodying the living continuation of my work and this vibrant art form. Beyond my family, I’ve guided nearly eighty students, many of whom have established their studios and nurtured their protégés, some gaining international acclaim. This burgeoning community signifies “Peinture Populaire” as not just a movement but a flourishing school of thought.
Our collective efforts extend beyond individual creation; we regularly convene to share insights and perspectives, fostering a dynamic dialogue that informs our work. This collaborative spirit has seen us tackle contemporary issues, from health crises like the coronavirus to political events, making our studio a crucible for societal reflection and commentary.
To further safeguard and explore the essence of “Peinture Populaire,” I founded ARAP (Atelier de Recherche d’Art Populaire), a research workshop dedicated to studying and protecting this art form from the homogenizing pressures of academicism and external artistic norms. ARAP is a testament to our proactive stance against the constraints that threaten the freedom and authenticity of “Peinture Populaire,” ensuring it remains a vibrant and accessible expression for all. Through these initiatives, we’re not just preserving an art style; we’re nurturing a legacy that will continue to inspire and evolve, long beyond our time.
Through these initiatives, we’re not just preserving an art style; we’re nurturing a legacy that will continue to inspire and evolve, long beyond our time.
Kitokongo: Thank you, Maître Chéri Chérin, for welcoming us and sharing your experiences and the essence of “Peinture Populaire.” It was both enlightening and incredibly inspiring. We’re deeply grateful for this opportunity.
As our dialogue with Chéri Chérin concludes, his profound influence on the fabric of Congolese culture and the expansive art world crystallizes. Far beyond the boundaries of traditional critique, Chérin has been a luminary, guiding art from the elite galleries to the vibrant streets, ensuring it speaks to and springs from the heart of the overlooked, both spectators and creators alike. His transformative journey from “Art Naïf” to “Peinture Populaire” is a bold declaration of Congolese independence, a celebration of culture through a lens unclouded by colonial impositions. This evolution, rich with the authenticity and diversity of Congolese life, positions “Peinture Populaire” as a unique artistic school, echoing the vibrant call of a nation’s soul. Through satire and active mentorship, Chérin’s work transcends aesthetics; it becomes a mirror reflecting societal nuances, urging a reevaluation of our collective narratives. His legacy, intertwined with the future of art, beckons us to view creativity as a dynamic, inclusive force, capable of igniting critical dialogue and inspiring societal transformation.
PS: A quick note of apology – in our excitement to meet maître Chéri Chérin, we forgot to take photos beyond the selfie you see just above and at the title. This time, we’re keeping it authentic with just one image to accompany our long conversation. Thank you for understanding and embracing the essence of our encounter with Chéri Chérin.