I want people to believe in ceramics – Djakou Kassi Nathalie

Djakou Kassi Nathalie is a true African. The Cameroonian, based in Lagos, has been a dominating force in speaking about ceramics in the continent. With over 30 years in practice and several awards to her credit, including the first Africa Prize at the International Fair of Ouagadougou in 2012, she remains resolute in her quest […]

Djakou Kassi Nathalie is a true African. The Cameroonian, based in Lagos, has been a dominating force in speaking about ceramics in the continent. With over 30 years in practice and several awards to her credit, including the first Africa Prize at the International Fair of Ouagadougou in 2012, she remains resolute in her quest to ensure she sets the pace for the younger generation. 

You’ve been in Nigeria since 2015, what is the impact of this move on your work?

What I did in Cameroon is different from what I am doing in Nigeria. In Cameroon, I had more tools, especially electronic tools, used in finishing my work. The way I finished my work in Cameroon is different from the way I do it in Nigeria. However, the challenge I met in Nigeria inspired me to either create or improve my styles. I devised a new way of finishing my work, so the challenges are not negative for me. 

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You have contributed to art education in Cameroon, Nigeria and beyond as a lecturer, ceramist and via other ways, why is art important to you?

Art is so natural for me. For ceramics to survive, we have to teach and transmit it to younger people. Art is very important because artists develop a lot of topics in their works and most times those topics come from what is happening in the society; whether in sports, politics or any other aspect. We reflect time. We are rewriting history in our way. 

Your works are deeply influenced by the African culture. At what point did you, in your career, decide to make the best of your culture?

From the day I entered art school, I was really impressed with African art. You study all types of art movements and within it, you study African art and I was really impressed by African art because I discovered African art when I was in school. It was from that day that I got attached to it. I am learning daily. What I did last year is not what I am doing this year so I am learning, reading and discovering.

Also, African culture is growing, it is not static. The fact that the African culture is rich, that richness is good for my inspiration so we collect patents and symbols from African culture to produce some of our works. I select a lot of symbols for instance fertility, burial and authority. Everything about kingdoms and architecture are so important and I am inspired to use them. I love African art because I am still impressed by the way our ancestors produced such impressive works. This is also why I am attached to them.   

You have participated in various exhibitions using your works to speak against social vices and societal ills, what brings you the greatest fulfilment?

I only travelled once but I do send my works for exhibitions, especially internationally. I am very happy to know that my ceramics can go far because in Africa we have old ceramics from centuries ago; many cultures and traditions practice it. But ceramics as an art is taking time for people to understand, accept and buy because many people in Africa still see ceramics as utilitarian for fetching water, for house chores or as flower vases. 

When I exhibit my work, I am very happy because it opens the door for upcoming ceramists and it also shows the audience that ceramic is beyond the utilitarian. It is considered a full piece of art. I want my audience to see that it is beyond the utilitarian. It is also a piece of art like other ceramics coming from Asia and Europe. So, seeing my works in those international exhibitions will make my audience know more about ceramics. This will also make them buy and in turn encourage their children to learn ceramics in school. 

With decades of experience and still getting stronger and more pronounced in the industry, you must have gotten several high points. Could you please tell us one of these high points?

I have been doing ceramics for the past 30 years. I have developed many techniques, met a lot of people and faced a lot of challenges. There are good moments when you start selling not because you are making money but because of the reaction of people buying your works. What they are saying, the way they see and interpret your works will also make you happy. The type of clients you get, especially foreigners, helps you understand if you are growing or not. I want to do better than yesterday. I am still learning because when I look at the works of ceramicists in other countries, I feel I am not doing enough because I see higher quality or level of inspiration. This is why I like participating in competitions because I want to challenge myself and also see what other people will propose. I also measure myself during these competitions. I am happy with the level I have reached and more importantly, I am happy that my audience are happy. 

You’ve gotten several awards and recognitions locally and internationally; do you still have things you’re yet to check on your to-do list?

I love participating in exhibitions, and competitions, especially international because it is the only way for ceramics to go far. For ceramics to go far, I have to work hard, be bold to participate in a lot of events. I always feel at home being invited to these international competitions. My wish is for my work to open doors for upcoming ceramicists. I want people to believe in ceramics. If my works go far, that door will stay open even after I am gone. 

What efforts do you put into your works considering your unique and distinct approach and style?

I just work hard. I do research. I try to improve my style and do different things. I innovate my works daily in an attempt to do something different. I have some people that have about 20 of my works and all are different. Even for people to continue buying my work, I have to continue to propose different things. I cannot say I am already good. I am learning every day. I try to innovate with the little materials I have. 

Some indigenous artists have identified several challenges limiting their performances in the art industry, how are you faring as a Cameroonian practising in Nigeria?

The problem with ceramics in Nigeria and Africa is people are limited because they are replicating and doing copies of what their elders did, they are doing repetitions. I don’t know if they are scared of innovation or if they are not inspired. People are also limited because they are not reading, they are not using social media very well and also because they are okay people are buying what they are doing and are not sure of the patronage if they change. But how will you know people will not buy if you are not proposing? Do the common but also do something new. I continue to test and experiment. I spend a lot of money doing this because when you have a new idea, you have to invest in it. 

In the last experiment I did, I lost more than N200,000. In Nigeria, I turned a lot of challenges into advantages, creating new styles and works.