In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
In 1962, Picelj initiated a series of his self-published “Edition a” art booklets, having released a total of seven publications up until 1964. Each issue of “Edition a” featured the work of one artist —mostly of a colleague whose work he admired.
Nature Morte 3 is part of a series by Eddy Kamuanga Ilunga, a leading contemporary artist from the Democratic Republic of Congo. In this work, Kamuanga explores the impact of mining for coltan in the DRC to satisfy the global demand for electronics. He references the environmental damage caused by pollution and toxic waste, as well as the resilience of local communities, particularly the women.
The title of the series, Nature Morte, translates from French as “still life” or literally “dead nature.” The paintings depict scenes that first appear joyful—such as a nursery filled with toys—but the objects are lifeless, and the children are absent. This absence lends the scenes a haunting and tragic quality, suggesting themes of loss and environmental peril. And yet in this painting, the dried stems offered from one woman to another, are interspersed with live flowers, giving a sense of hope for the future.
Kamuanga’s style, as expressed in Nature Morte 3, is known for its fusion of traditional African symbols with futuristic elements. His figures often display patterns of digital circuitry on their skin, illustrating the clash between tradition and modernity, and between local identity and global influence. His use of bright colours and detailed textures makes each painting visually striking and deeply layered in meaning.
Eddy Kamuanga Ilunga (b. 1991) is known for using art to tell stories about his country’s past and present. His work frequently addresses the long history of foreign exploitation in the Congo—from colonial rule to today’s global demand for minerals. Through his art, Kamuanga highlights the human and environmental cost of modern technology. His work has been shown in solo exhibitions at October Gallery (2016, 2018, 2024) and major venues including the Royal Academy of Arts in London. Kamuanga’s paintings are held in international collections such as the Zeitz Museum of Contemporary Art Africa in Cape Town and the Hood Museum of Art in the United States.
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