From uprootedness to artistic expression: An interview with Cameroonian artist Salifou Lindou
‘ … I see my work as exploring the dual nature of human existence — strength and fragility’
Originally published on Global Voices
Salifou Lindou ‘L'exode et La Famille #5,’ 2022. Pastel on canvas 41 3/10 × 68 9/10 in | 105 × 175 cm, courtesy of AFIKARIS Gallery.
Salifou Lindou Fouanta, born in Foumban, Cameroon, grew up deeply immersed in his culture under the guidance of his civil servant father. In childhood, his artistic journey began with clay and colors, sparking a lifelong creative passion. As a teenager, Lindou's curiosity led him to collect Western art magazines, explore traditional objects, and visit museums and craft shops. Accompanying his father, he studied masks and statuettes, learning their history from the Foumban Art Museum curator.
Born in 1965 into a large Muslim family, Lindou’s formative years were enriched by the cultural vibrancy of Foumban and Bafoussam. Despite limited resources, he began drawing portraits at 13 using pencil and watercolor. At 18, in Douala, he worked at a print shop and, unable to afford conventional paint, used red soil from his hometown mixed with binders.
“Salifou Lindou’s spontaneity in bringing characters to life through lines sets him apart,” says Michaëla Hadji-Minaglou, gallery manager and lead curator at AFIKARIS in Paris. “While recent trends focus on realism, Lindou’s figurative narrative captures the scene's energy rather than aiming for flawless realism.”
Lindou’s sense of humor is evident in his political series, where exaggerated poses and expressions create parodic depictions. This blend of satire and reflection balances socio-political commentary with personal memory. The textures in his work, derived from local pigments, connect his art to the red earth of his homeland.
Lindou’s international profile has grown with exhibitions at the 1-54 London Art Fair (2020), Art Paris, Investec Cape Town, and 1-54 New York. His work has been shown at the National Museum of Yaoundé, and Institut des Cultures de l’Islam. Representing Cameroon at the Venice Biennale in 2022, he recently had his first solo institutional exhibition in Europe at the Ettore Fico Museum in Turin, Italy (2024).
Lindou’s art reflects a rare sensitivity, addressing contemporary complexities through a refined aesthetic lens. His work reacts to current events and offers a sophisticated meditation on power, identity, and the human condition. Lindou’s multi-faceted narrative invites viewers to appreciate the aesthetic and the urgent social realities depicted.
Global Voices interviewed Salifou Lindou about his work and artistic influences. Excerpts from the interview follow:
Salifou Lindou ‘Politicians 55,’ 2023. Pastel on paper mounted on canvas, framed 39 2/5 × 51 1/5 in | 100 × 130 cm, courtesy of AFIKARIS Gallery.
Omid Memarian (OM): You were born in the art-rich city of Foumban and have lived in Douala since 1992. How did these cities shape your interest in art?
Salifou Lindou (SL): Foumban has always been a vibrant cultural center. My royal heritage, with a grandmother who was a princess and a relative from the royal palace, gave me unique access to the art and culture of the Bamoun people. This early exposure included meeting the Sultan, King Njimolû Seidou, and visiting his private apartments, which made the museum and its artifacts easily accessible to me. At 14, I was motivated to paint portraits of my grandparents, the King of Njoya, and even the Sultan himself, which deeply rooted my passion for art. This early engagement with Bamoun ancestral artifacts profoundly influenced my artistic development.
When I moved to Douala in the early '90s, I found a small yet inspiring art community, despite the lack of galleries. Artists held joint exhibitions at the Centre Culturel Français, which was encouraging. I connected with seasoned artists like Koko Kommegne, whose advice on art and life was invaluable. Douala’s cosmopolitan nature and access to Western art magazines, like L'œil and Beaux Arts Magazine, allowed me to blend my traditional influences with global art practices — this openness to new ideas enriched my artistic vision.
Salifou Lindou ‘L'exode et La Famille,’ 2019. Pastel on paper 100 × 180 in | 254 × 457.2 cm, courtesy of AFIKARIS Gallery.
OM: In the absence of national art schools in Cameroon, you benefited from French and German “cultural diplomacy” in the '90s. How has art education in Cameroon evolved since then?
SL: The French and German cultural institutions, such as the Goethe Institute and the Institut Français, were crucial in promoting art through workshops and public exhibitions. They facilitated cultural exchanges that introduced us to international art practices. Today, Cameroon has more art schools nationwide, offering university-level education and opportunities for young artists. Many of these artists are now part of the international art scene, exhibiting abroad and working with galleries. However, local galleries still lack the promotional mechanisms seen in the West.
Salifou Lindou ‘La Bergère #4,’ 2020. Pastel on paper 51 1/5 × 59 1/10 in | 130 × 150 cm, courtesy of AFIKARIS Gallery.
OM: How have your interactions with global artists impacted your work and perspective?
SL: Traveling and meeting artists worldwide has been profoundly enriching. Engaging with different cultures and artistic practices has broadened my perspective. Participating in Biennial symposia and other international events allowed me to bring my local experiences into a global context. This exposure to diverse artistic disciplines and academic approaches deepened my understanding of art. I’ve learned to translate traditional techniques into contemporary contexts and integrate local and global influences into my work.
OM: Creating art that resonates across different cultures is essential to you. What universal themes or stories do you explore in your work?
SL: I focus on political and social issues that are relevant globally. For instance, my work on the NOSO (North-Southwest) war addresses themes of displacement and conflict, reflecting worldwide matters. The exodus and uprooting caused by such conflicts are universal experiences, transcending local contexts. I strive to depict these issues with a local flavor, making them relatable to audiences everywhere. My political art, often created with pastels, critiques corruption and human rights abuses. Politics and social issues are universal, which helps my work resonate with a global audience.
Salifou Lindou ‘Politiciens #33,’ 2021. Pastel on paper 56 7/10 × 59 1/10 in | 144 × 150 cm, courtesy of AFIKARIS Gallery.
OM: How has the status of contemporary art in Cameroon changed over the past 35 years since you began your professional career?
SL: Contemporary art in Cameroon still struggles to gain proper recognition and support. Despite some progress, such as establishing art schools and increased international exposure for young artists, local support remains insufficient. No major galleries or museums are dedicated to promoting and nurturing artists long-term. There is a need for more significant investment in the arts to foster creativity and support artistic projects.
OM: Your work often features a mix of chaos and harmony, with lines and curves creating engaging imagery. How did you develop this distinctive style, and what does it mean to you?
SL: I view art as a reflection of life's contradictions. Just as life blends positives and negatives, my work embodies this duality. I incorporate elements of Yin and Yang, where opposites intersect and create emotional resonance. My “tangled lines” technique represents this conflict, creating a visual shock that adds depth and intensity. Whether working with pastels, canvas, or metal, I start with layers of color and reveal textures to evoke emotional responses. This approach allows me to explore human experience's complexity and convey strength and vulnerability.
Portrait of Salifou Lindou, Afikaris Lindou ©Studio Vanssay (HD)
OM: How do pieces like ‘Politicians,’ ‘Family,’ and ‘La Bergère’ reflect your views on societal and political environments?
SL: My work is deeply connected to my surroundings’ social and political realities. For example, ‘Politicians’ uses exaggerated poses and expressions to critique political figures and corruption. ‘Family’ and ‘La Bergère’ draw from both local traditions and Western artistic influences, blending cultural elements to address universal themes. Inspired by the purchase of a presidential plane and subsequent corruption, my piece ‘The Albatross’ uses a hybrid sculpture to express my indignation. This blend of local and global influences in my work helps me address pressing issues and engage with a broader audience.
Salifou Lindou ‘Tariq et Alamine à L'atelier,’ 2023. Pastel, acrylic, posca and collage on canvas 35 2/5 × 51 1/5 × 1 1/5 in | 90 × 130 × 3 cm, courtesy of AFIKARIS Gallery.
OM: Your work has been described as a “choreography of love” despite its complex imagery. What drives this passion and energy?
SL: The term “choreography of love” is interesting, though I see my work as exploring the dual nature of human existence — strength and fragility. I aim to express the paradox of being, capturing individuals’ resilience and vulnerability. My characters often reflect this duality, showcasing physical strength and underlying fragility. This approach highlights the complexities of human experience and adds depth to my work. By combining political and existential themes with emotional intensity, I strive to create art that resonates deeply and reflects the realities of our world.