Amani Bodo is an African artist from the Democratic Republic of Congo, born in 1988, takes his first steps into the art world at just 10 years old, after being fascinated by the Congolese popular art movement, which used to paint his own art over the jute sacks left unattended in the markets of Kinshasa.
It is precisely on these first childish sensations that Amani will decide to base his artistic work, using allegorical figures, coming from the typical African fauna, referring to tribal culture and symbolism.
Son of art, since his father, Pierre Bodo, was also an artist, he became the contemporary bearer and representative of the popular movement of Congolese artists of Kinshasa born in the 70s (1977), which saw as main exponents Cheri Cherin, Chéri Samba and the aforementioned father Pierre Bodo.
The nature of popular painting, to which Amani refers, is mainly figurative and descriptive, but also visceral and complex as it criticizes the political and social life of the African community, often with a vein of cynicism and irony, addressing issues such as wars, sexuality and the daily situations that the African people find themselves living in.
Despite the difficulty and precariousness that the African continent experiences, in this context Amani is able to develop a critical sense of the reality that surrounds it, which is not limited only to its own land, but rather reflects on the most important and current problems. that the world has lived and is experiencing in this period.
Precisely this characteristic is what interests the artist most, often defines his - mission - as the narration of the most important events, coming from the world contemporary character, through metaphors, never predictable, which often fascinate and at the same time displace the viewer, intriguing him. and making him reflect on the concept that the artist wants to represent.
Amani makes art his own stage, within which he has been able to evolve his style, reaching the development of a refined painting technique but which at the same time maintains a character that immediately brings back a feeling of pure African essence.
What has always differentiated Amani's vision of surrealism from the more classical conception of the current just mentioned is the multitude of messages that the artist wants to expose and the synergy that each of these symbols has with each other, thus shaming on a single great meaning that could only be correctly interpreted with the presence of various and different metaphors.
"Ce qui nous influence nous dirige" translated from French "What influences us directs us" is probably the key work to best define Amani's personal vision of surrealism.
The title explains how the artist perceives today's digital reality, characterized by continuous influences from various media, social networks or advertisements.
However, Amani explains his own personal vision of reality, which is not exclusively characterized by what can be the "digital" influence, but also by his own past, represented by the hourglass, and how it can block us, chain us, keep us tied to gods. previous traumas that do not allow us to react to the difficulties that humanity is experiencing rendering us helpless while we observe the destruction of our earth, represented by the anonymous hand that throws the ashes and dust of destruction.
Within Amani's conception of art, culture occupies a central role, described as the luxuriant flower of humanity, for the artist it is at the basis of today's society but not only, culture is the lifeblood from which each of us it feeds, inspires and decides to contemplate.
Amani remembers fundamental, that it does not matter where we are in the present but rather where we come from, where we have come from, therefore, what our reality was and what characteristics accompany each of us.
Characters such as multi-ethnicity within their works this concept stands out because each of us brings a different culture, a history behind us that derives from a specific people and reality.