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Signals #10 Sixte Kakinda


I think that monologue and hatching have something in common: movement. And maybe also bursting or some sort of scattering. The monologue allows you to come face to face with yourself or two others yourself to discuss and reflect on a subject such as the current pandemic.

The direction that our ideas will take is indeterminate. Although for hatching the directions of the lines are determined in advance but the beauty of their layout, the beauty of their movement remains unpredictable. It is discovered during the construction of the image.

The lines on the paper are parallel to each other. Sometimes they cross or overlap. Others stand out, they emerge to be overtaken by others. They come together to produce the final drawing. Like our ideas during a monologue.

And if after all these lines, these ideas were only one thing with a power to multiply themselves so they can bring out the truth, the solution, the final image?

I took advantage of this moment of confinement to advance on certain projects. The drawing presented here is part of my first solo exhibition named Intimate Moments which will take place in Hiroshima in August of this year. Intimate Moments shows the invisible link established between Japan and the Congo when the atomic bomb exploded in Hiroshima in 1945. This bomb contained uranium extracted from the Shinkolobwe mines in the Belgian Congo (More details:

Sixte Kakinda
Living in Japan, Sixte Kakinda is a Congolese self-taught comic writer with MFA diploma from the Tokyo University of the Arts. He is interested in expanding drawing on other art disciplines as a way of making drawings. He participated in different group exhibitions at the Art Park Gallery (Seoul, 2019), at the Gallery of Contemporary art of Leipzig (Leipzig, 2017) and at the Inbox of the Museum of Contemporary Art Antwerp (Antwerp, 2015).

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Sixte Kakinda, Monologue II (detail panel 1, work in progress), drawing on paper, 2020
Sixte Kakinda, Monologue II (panel 1), ink on paper, 1000mm x 1500mm, 2020