The colour that flows and revives ordinary objects into creative and breathable pieces arises from the brilliant artistic mind of Nathanael Koffi. Through his work, he ignites a miraculous energy that drives the space around. Nathanael’s art is versatile in contrast, with a living palette of colours that he transcends to the canvases and everyday objects like cars, skateboards, signs, etc.
Nathanael immerses the audience in abstraction and imbues his artworks with an exceptional freedom of expression. You can also explore his vibrant and powerful art through multiple creative collaborations where new boundaries are challenged each time (Lee, Adidas, Maison Kitsuné, Waterford Whisky, etc.).
We couldn’t help but notice the colourful spark of Nathanael’s art and his genuine personality. In our conversation, Koffi shares his thoughts on chromotherapy, technological innovation, the flaws of the contemporary art world, and the transformation he infuses into seemingly inconspicuous but deeply meaningful objects.
hube: Can colour serve as a source of inspiration, or do you view it solely as a tool of self-expression?
Nathanael Koffi: It depends, but I would say that it’s a mix of both. Everything relies on the moment, the feeling, the idea, and the technique. Generally, I use colours to express emotions in my own way, as I’m perpetually and consistently learning about the meaning of the colours. There is what everyone knows and sees, but also the origins and the roots of different colours. I like to apply my own rules to guide how I use them and what message I want them to convey. I am also very interested in chromotherapy and how the perception of colours can directly impact your mood and energy, and how they can help harmonise your body, your mind, and your emotions.
h: It appears that a substantial portion of visual culture is moving towards virtual reality, creating imaginary worlds within imaginary worlds. What are your thoughts on this trend, and what are the opportunities and risks for contemporary artists in the metaverse? Have you experienced any impact of technological advances on your creativity?
NK: I feel that this is just another step in art and creativity. So rather than perceiving it as a threat, I prefer to see it as an opportunity. Every innovation has been feared before being widely understood and adopted, so my guess is that AI will settle into our landscape and eventually become part of our everyday life. I observe it with curiosity, but don’t feel the need to use it and haven’t been really challenged by it.
h: You often turn ordinary objects into works of art. What comes first—the idea or the spontaneous urge you feel as soon as you meet the right object?
NK: I live to give objects a second chance, another shot at life through my lens. I like that some abandoned objects that are meaningless to most become meaningful for me. It’s a way of creating outside of the box, a way of working on less classical canvas.
h: What frustrates you about the contemporary art world?
NK: I am really frustrated by inaccessibility and narrow-mindedness. It triggers lack of understanding and has created strong disparities and divides in an almost sectarian world. In art, an academic approach often translates these divides and can be very unhealthy.
h: Are there teachers or mentors who have significantly influenced the trajectory of your life, creatively or otherwise?
NK: I am self-taught, so I don’t really have a mentor but I have been very inspired by skate culture and music icons.
h: You studied finance at L’Institut national des techniques économiques et comptables. How can you explain the shift in your career?
NK: I didn’t really choose this path at first, but my studies didn’t fulfil me, so I started painting in my spare time. As my passion grew, I realised that I could find more meaning, success, and fulfilment in painting. I felt it was the right moment to take the leap, to take a risk on painting rather than on a future that didn’t appeal to me.
h: Artistic collaboration is an exchange of creative energy, a space for new ideas and meanings. Has your experience with collaborations always been successful?
NK: It has always helped me to grow, to develop maturity and confidence as well as to learn different techniques. Learning about brands and products fuels my creative process. For example, I am currently working with the whisky brand Waterford. I’m designing a limited edition bottle and packaging for them, and I have really enjoyed getting to know more about the distillery, its specificities, and the distillation process. I also worked with the caviar house Sturia and enjoyed discovering this world and pisciculture. When I really understand the brand, I can bring my creativity and my energy to the project in exchange for enriching experiences and memories.
I also think of the encounters that the world of art and social media platforms offer as collaborative. It’s a window to the world that allows fellow artists to get inspired by each other.
h: Often, artists perceive their work as a message to the future. How would you describe your relationship with the future?
NK: My art is like Janus, more driven by the past than by the future.
Photography by VICTOR JACQUES SEBB, THOMAS VATIN, FANNIE PLESSIS, JAKOB ZUYTEN, NICKY MURPHY, DARIA SENIN, LUDOVIC PIETERSON
