Gil Arnaud Ngolé is a Memphis based artist, born in the Republic of the Congo-Brazzaville during the postcolonial era dominated by repetitive pattern of engineered forced migration. A social and political environments. He got a BFA in painting and installation at Rueil-Malmaison’s College of art in France, and he is pursuing a MFA in sculpture and sound installation at the Memphis College of Art, where he is developing a nomadic practice combining sound and sculpture. His works were on display at The Musée du Mac-Val (France, 2008), Crosstown Arts Memphis (2014 and 2015), the Memorial Art Gallery (2014), and the Season Moved Tops Gallery (2015), and since November 3rd, 2016 at the Midnight Walks Sumter Art Gallery in South Carolina. Currently collaborating with Oxford University Department of law, on the Border Criminologies project since April 27th, 2017. His awards includes The Honenberg Scholarship (2015), The RiverArts Scholarship (2015), The Merit Scholarship (2014), and other private scholarships. He was also awarded Equal Justice 2017 residency at the Santa Fe Art Institute, along with a visiting artist award with the Land Arts research fellowship from the art and ecology department of the University of New Mexico.
Where I am from, people have developed another approach of reality: a nomadic state of consciousness after being exposed to several experiences of forced displacement. This human experience, however, is not reflected in Western media coverage or representations of experiences of forced displacement in the Central African region. Therefore, as a citizen of the Republic of the Congo, mediator and sound artist, I have chosen to deconstruct Western media representations of forced displacement in the region of Central Africa and reassemble the spectrum of a journey as many sequences of heterochronies. Michel Foucault defined a heterochrony as the juxtaposition in a real place of several single spaces, sites that are in themselves incompatible. My heterochronies are accumulation of time in its flowing, and accumulation of performances.
1 . The process I use helps me to portray and mirror the decay of refugees belonging because of traveling through various geographical locations and the weather conditions. At this level of my journey, I feel like am a mediator between the viewer and a situation (nomadic experience). The term “mediation” was used by Olafur Eliasson when describing the Weather project. He pointed out that modern society as created severals tools (the media, the Internet, and newspapers) that allow them to mediate the experience of a situation. When defining mediation, he states: “The level or degree of representation is a constant state of flux, varying in accordance of the different factors mediating this situation.”
2 . So as a mediator I am presenting an immersive installation including sound installation, mixed medias bundles, nomadic sculpture and drawings that bear witness and mediate an “out-of-time” experience to the Western viewer.
Connection, Creativity, and Family are three terms that could best describe my creative and spiritual journey at SFAI 104 as a “first class forced displaced artist and activist”. The connection made allowed me to build a creative family that I believe will witness my transformation as an artist. Additionally, my experience as a visiting artist for Land Arts UNM 2017, allowed me to connect and share my experience with two priceless Navajo friends and leaders who listened to my experience and gave me a wonderful gift,saying: creativity is a way to sustain and develop our identity and common history. Creativity is a way to get away from drugs, fight poverty, and “go through the trauma, because on the other side there is wisdom”.