Barthélémy Toguo: The Journey of Making

In his first solo exhibition in Japan, Cameroonian artist Barthélémy Toguo reflects on nature, ritual, migration, and what it means to create in communion with place.

SLEEK You’ve just completed a residency in Yoshino and are now exhibiting at Space Un, your first solo show in Japan. How did this change of scenery and rhythm influence your work?

Barthélémy Toguo Yoshino had a profound impact on me, a lush landscape of hills, trees, and rivers, surrounding a peaceful village. It was an idyllic place to create, and I felt deeply connected to nature. That immersion helped me engage with Japanese deities, which I honoured in my paintings using washi paper, inspired by the Kojiki, the sacred Shinto text. I also collaborated with a 93-year-old ceramicist, one of Yoshino’s last, to produce ceramics featured in an installation at the centre of the exhibition.

S Space Un is marking its first anniversary with your exhibition, a fitting moment. What drew you to this collaboration?

BT It was a beautiful match. The gallery team supported every step, especially in enabling my collaboration with the ceramicist. That care elevated the entire production. In the end, we created a true visual symphony.

S Your practice flows between painting, sculpture, installation, and performance. Do ideas shape the medium, or can material dictate the message?

BT The place, its history, and energy always come first. I was eager to work with washi paper, and used it to portray ten Japanese deities. I’m passionate about paper – each kind offers something unique. I’ve also grown more interested in working with artisans, and my exchange with the ceramicist in Yoshino was very emotional. The village’s raw nature inspired a large tree-based installation, using Yoshino wood, naturally.

S Migration, displacement, and identity recur in your work. How do these themes surface in your new pieces?

BT I symbolised movement using mythical animals, especially on ceramic plates. I also felt a strong connection between Japanese animism and African traditions, exploring that world of sun, fire, and sea gods brought me back to a spiritual space that felt very familiar. In ceramics, I created ovoid forms like small boats, vessels for today’s displaced. I decorated them with botanical motifs drawn from my visual language.

S Passports, stamps, borders, these motifs appear often in your work. What brings you back to them?

BT They reflect ongoing challenges of mobility. Over time, I’ve added economic and social dimensions – the growing divide between the Global North and South drives poverty and pushes migration. I’ve also incorporated agricultural elements to speak to everyday concerns, grounding these global issues in tangible realities.

S Bandjoun Station – the arts space you founded in Cameroon – blends creativity, community, and sustainability. How does this project relate to your work abroad?

BT It’s a global artist residency with strong local roots. We’ve added an agricultural component focused on healthy food and sustainable practices. The local community is involved, and art and farming dialogue naturally, especially in connection to traditions like weddings, funerals, and protecting heirloom seeds from industrial erosion.

S Ecological themes are present throughout your practice. What message do you hope to spark in this exhibition?

BT To honour and celebrate culture – through art and the beauty of nature.

S From Abidjan to Düsseldorf, you’ve absorbed many influences. How has that shaped your thinking and your creative process?

BT Each place offered something unique. The lessons weren’t the same, but each left a lasting, valuable mark.

S You’ve consistently tackled weighty topics. Are there new themes or directions you’re eager to explore?

BT I’m fascinated by the world beneath the sea, inventing imaginary fish inspired by marine life. At the same time, I’m troubled by the fact that over 75% of the animal world has been lost. I’d also like to return to the theme of scientists – after COVID, their role deserves renewed attention. I explored this with past works on AIDS and Ebola, and I feel compelled to honour their work again.