Born in 1959 in Nioki, Democratic Republic of Congo
Lives and works in the Democratic Republic of Congo
The quality of this self-taught artist’s drawings was quickly recognized by his peers. At the age of 19, Mosengo Shula began working as an assistant to his cousin, the renowned painter Moke (1950–2001), a master colorist and godfather of “popular painting”: “Moke taught me all the nuances, all the gradations of color. By nature, I love the color blue because I am gentle and don’t speak much.” During this collaboration, Shula developed his style and technique through innovative color combinations. He then sought his own path by painting on postcards and creating murals before turning fully to popular painting, depicting street scenes, daily life, and religious ceremonies. Intent on avoiding clichés, he chose subjects such as globalization, the internet, and the fast pace of contemporary life.
Shula Mosengo’s use of color is a hallmark of his work. His color blends seem to transcend reality, giving his paintings a dreamlike quality. This distinctive use of color sets him apart from other masters of popular painting (Chéri Samba, Chéri Chérin, Moke). His allegorical subjects and “fauvist” palette contribute to the surreal aspect of his work. Shula invites viewers into a world filled with imaginative scenes. Colorful, humorous, and playful, his narrative paintings primarily depict the daily life of his compatriots, often critiquing corruption and the influence of churches: “The painter is useful because we say out loud what others think quietly.” The artist seeks to raise awareness and educate the population while condemning political injustice.
His works bring a fresh perspective to universal issues such as climate change, international politics, and technological development. Shula explores the rise of globalization in African landscapes, as well as environmental changes and transformations across the continent. He is also interested in “modern addictions.” Earphones, cables, USB drives, and mobile devices appear in his “Afro-futurist” imagery, reflecting the ambivalence of modernity—between universal connectivity and dependence on virtual networks and social media. In this way, Shula interrogates the relationship between modernity and tradition, often incorporating African engravings and traditional sculptures into his work. His pieces reflect on the continent’s ability to observe and shape its own role and future in the real world:
“Sooner or later, the world will change, and sooner or later everyone will have to talk about Africa. It’s not just artistic; it’s political. We are the largest continent; we are the crossroads of the entire world. We must continue to emerge on the global stage, and we have everything we need. There is gold, copper, oil, diamonds—everything we need in terms of natural resources.”