Jack Kabangu, a Denmark-based Congolese artist, introduces his latest exhibition titled being in love with my work is a gift, but at the same time also a curse to be held at Jupiter Contemporary in Miami. We sat with Kabangu just a few days before the opening to discuss the joys and the hardships of being an artist, the source of his inspiration, and the freedom of creativity. Enjoy!
hube: Could you provide insights into the inspiration behind your upcoming exhibition, being in love with my work is a gift, but at the same time also a curse, featuring at Jupiter Contemporary in Miami?
Jack Kabangu: The idea behind the exhibition is that you experience both the ups and downs of being an artist. When you work with your biggest passion, it’s the coolest thing in the world. But it can also be so hard to just stop and “take time off”. Distinguishing between work and free time is challenging, and it’s even harder to take a break without thinking about art.
h: Among the works featured in the show, could you tell us a bit more about one or two pieces that hold particular significance to you and reflect on the stories or emotions behind them?
JK: The piece flyvende bolde (flying balls) is about managing multiple tasks simultaneously, symbolising the fun of handling a lot at once but also the challenge of keeping track of various projects, ideas, and ongoing commitments. I find joy in having everything up in the air simultaneously, but there comes a point where I cannot stay focused anymore, so I drop all the balls. The fun ends.
I am not mindful of my limits sometimes, so often I end up picking up the extra ball – an extra task. This, in turn, makes it impossible to keep them all “in the air” and juggle them without making a mistake.
h: The terrified faces in some of your works reflect family experiences of war. How do you balance conveying intense emotions while maintaining a visual balance in your compositions?
JK: When I create a piece, there are no set rules, guidelines, or preconceived thoughts – the works evolve based on the feelings of the moment. I never have a predetermined idea of how a piece should conclude or a visual plan for its appearance or intended reflection. I only grasp the meaning of the work once it’s completed, and even then, I try to keep its history and significance open by avoiding forming a personal opinion. This allows me the flexibility to add more details or alter the narrative through subtle additions.
h: Your artistic style is marked by bold shapes and vibrant colours. How do you think these elements contribute to the narrative of your artwork?
JK: Even before I began painting, colourful art always captivated my attention, holding a special interest for me. When I ventured into painting myself, it felt natural to use the colours that had always intrigued me. Moreover, influences from fashion and design, including Verner Panton’s vibrant use of colours in the 60s and 70s, played a role in my artistic development. I also have fond memories of the hand-sewn, colourful Zambian clothes my mother wore to parties – to me, these colours bring a sense of joy and festivity. I want to bring these colours into the future, shaping the DNA of my art.
h: The expressiveness of your figures is notable, especially considering your use of swift, bold strokes and finger painting. How does this physical and direct approach contribute to the overall emotional impact of your work?
JK: Having no strict rules is so important for me. Whether you use a paintbrush or paint with your fingers, even stepping on a canvas by accident, it has the potential to either create or ruin a painting. Embracing the possibility of failure and stepping into unfamiliar territory is essential to me because it drives the discovery of creative solutions or the exploration of entirely new paths.
h: Your influences include high fashion and design. How do these elements contribute to the visual language of your art?
JK: High fashion has always fascinated me. What captivates me the most is the designers’ unique ability to create a recognisable universe, allowing one to unmistakably say “That’s from Rick Owens” or “That’s from Maison Margiela”. This aspect has been a great source of inspiration for me in shaping my identity as an artist.
h: Can an artist ever expect the viewer to understand what is meant by the work? What is your opinion on the conflict between the intention of an artist and the meaning that is interpreted by the audience?
JK: I hold my own perspectives on my works, and I don’t anticipate that the audience will interpret them in precisely the same way. In fact, I find it almost dull if everyone shares the same opinion. Art is inherently personal, and each individual sees, feels, and experiences something different within it.
h: New digital technologies manipulate our sense of reality, and artificial algorithms imitate human beings. Do you think art will always be created with human participation
JK: I don’t believe that art can be created without human involvement. While AI can certainly generate distinctive and beautiful art, the ideas, thoughts, or emotions from humans need to guide the AI towards the desired result.
h: You have experience living and working in different places. Where do you feel the most creative energy and freedom?
JK: In my studio. It’s where I have everything at my disposal and know the exact location of each item, primarily for practical reasons. I’ve also arranged the studio to align with my energy. While I appreciate stepping out to confront new challenges and draw creativity from unfamiliar surroundings, my ultimate comfort lies within my studio.
h: Looking ahead, what are your aspirations for the future of your artistic career? Are there any specific themes or mediums you would like to explore in future projects?
JK: Perhaps experimenting with various forms of sculptures using specific materials like clay, wood, and bronze. It’s something I would like to learn in the future.
Images courtesy of JACK KABANGU
