Eddy Ilunga Kamuanga

Acquired directly from the artist by the present owner in 2014

London, Saatchi Gallery, Pangaea II: New Art from Africa and Latin America, 2015, illustrated in the catalogue p. 103

The work is stretched but unframed. The canvas is unlined and is slightly loose. There are light surface marks to all four framing edges. There is some light horizontal creasing which is indicative of the unstretched canvas having been rolled. There are some small black smudges throughout which appear to be contemporary with the creation of the work. There is one linear black surface mark to the lower right quadrant of the work, just above the blue fabric, measuring approximately 2cm. long. Examination under ultra violet light reveals no signs of retouching or repair. Overall the work appears to be in good original condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

On the banks of the Congo River sits the capital city of Kinshasa, the third largest city in Africa and home to Eddy Kamuanga Ilunga. Troubled by the rapid post-colonial modernization of his bustling city, this young artist began to explore the effects of this growth on the traditions and heritage of the people of the Democratic Republic of Congo. The Mangbetu people from the north-eastern Orientale province of the DRC, known for their elongated heads (the result of a traditional practice performed at birth using cloth bandages) and their rich artistic and musical traditions, are also central to the artist’s practice. Kamuanga Ilunga produces work that documents both the history and uncertain future of this Congolese community.

Like many of his recent works, Elongated Head is an example of the artist’s attempt at combining the story of the rapid modernization of Kinshasa with the resulting uncertain sustainability of the traditions and broader heritage of traditional groups like the Mangbetu people.  Sitting with her knees pulled up to her chest and elongated head on her arms, perhaps in a state of sorrow or slumber, the artist tattoos his subject’s skin with his trademark patterning, a nod to today’s digital age. These modern figures are counterbalanced by the artist’s incorporation of Mangbetu textiles and objects, which act as a sort of relic of Mangbetu craft and heritage.

After graduating from the Institute of Fine Arts in Kinshasa in 2009, Eddy Kamuanga Ilunga sought to distance himself from further formal education, establishing M’Pongo, a collective of young artists from Kinshasa, shortly after leaving school to promote further artistic development in himself and others.  M’Pongo seeks to help young artists from the DRC develop a unique and creative style. Kamuanga Ilunga has participated in a number of overseas exhibitions including Dak’Art: The Biennale of Contemporary African Art in 2014.