Beaches, mountains, deserts, food, culture, language… Cameroon is known as “Africa in Miniature” for offering a taste of everything the continent has to offer. Including art! In “Cameroon Créateurs,” Orangehare highlights 7 artists who embody the nation’s burgeoning and diverse creative landscapes. From textiles to tribal masks, these creators draw inspiration from sources as varied as their country’s borders to offer sweeping views into themes such as motherhood, fast-fashion, labor, and beyond. Critically acclaimed, many of their pieces adorn esteemed institutions worldwide, including the World Bank in Washington DC and various galleries and museums throughout Africa, France, and Spain. Now, Orangehare is proud to present these “Cameroon Créateurs” on Opensea, and give web3 a taste of what the future art of Cameroon will look like.
The work of William Tagne is an exploration of the existential patterns of humans in society. Through his work, he addresses subjects such as childhood, education, resistance, identity, and even time. Haunted by images that marked his childhood and his teenage life, Tagne is obsessed with the need to tell his story and that of the people of Cameroon. These difficult moments in his life still haunt him, but through them, he forges his humanity and artwork.
“Through the practice of my art, I try to exorcise my fears and my demons of yesterday. Every stroke of the paintbrush is an action to denounce and condemn the violence, crimes, and horrors that traumatize society and which claim the lives of millions of children worldwide in indifference.”
This painting is part of a series of works entitled Stolen Childhood that I started in 2015, which deals with the issue of children's rights, which denounces forced labor and therefore children are victims. Through its poetic aesthetic, I aim to convey the dreams and ideals that each child embodies, emphasizing their equality and inherent dignity as individuals.
Fa’a! A name that gently distinguishes him from his fellow painters and graphic designers. We almost want to sing this name with its captivating musicality! What if that was the idea all along? To lead us to hum his paintings, give thanks to his quadrilateral-shaped openings, and relish his carefully chosen colors, so that his world and ours become one!
It's taking shape! The idea is to go beyond textiles and tell the story of the evolution of masks in our spaces and take us back to our culture. But this does not mean covering your face. What does it mean to disguise yourself to hide your identity? And as we do that, what is identity?
Born in Bamenda, Cameroon, Anje focuses his artistic endeavors on exploring themes of fashion, identity, and consumer culture. This started when he immersed himself in the studios of local artists in Brazzaville, Congo, where he encountered fashionable young men known as “Dandies,” who dress in a loud form. After graduating with his master’s degree in drawing and painting from the Institute of Fine Arts of Foumban (IBAF), his works have garnered international recognition, with pieces finding their place in prominent collections such as the permanent collection of the World Bank in Washington D.C. and various collections of esteemed collectors worldwide.
I create vivid neo-pop works that place my subjects against contrasting heavily logoed backgrounds in a way that reveals their sartorial elegance and pride while querying the persuasive influence of consumer culture. My works engage societal issues like race, identity policies, and fashion branding (consumerism).
Bienvenue Fotso’s is a visual artist based in Douala, Cameroon. Her artistic practice, which she terms "archi-landscapes," delicately explores the interconnected relationship between humanity and nature. Her work spans painting, photography, and video, with notable exhibitions including her debut solo show ‘FIPAN-GRASS’ (African Art Beats Gallery, Washington 2022), and group exhibitions such as "The Place of the Human" (Douala 2017); "TODAY" (Yaoundé 2019) at the National Museum; "A Vision Contemporary Act VIII" (Yaoundé 2018) at the World Bank headquarters; and Artu’Elles Interferences (2020) at the Annie Kadji Art Gallery. Fotso received her training at the Futur’Art association, a collective dedicated to the training and promotion of young artists since 2015.
Fotso's work often highlights the risk of losing ancient knowledge of the healing properties of plants, developed over thousands of years, preserved in the memory of ancient people and passed down orally from generation to generation.
My work is created by layering flat areas of acrylic paint on cotton canvas, and the overlap of the elements very clearly evokes the community of fate between humans and the forest, i.e. nature as a whole. Because the rate at which the world's forests are disappearing puts human survival at risk. This overlap also reinforces, on the one hand, my crazy dream of reforesting the world, and on the other, the idea that humans can exist through built structures without the need to make forests disappear. Humans must become more aware of forests and communities of destiny
"Java Plum" belongs to Fotso's ‘Health in Nature’ series, which illuminates health through medicinal plants. As the ecosystems from which these plants originate continue to be at risk (deforestation, pollution leading to global warming, etc.), the risk of biodiversity loss increases.
André Joël Ngassi defines himself as a researcher of the mystery of art. His work is oriented toward a global look at the “unsanitary conditions and their mechanisms, and the relationship between humans, nature, and the Divine." Through symbolic forms, he aims to depict society’s many responsibilities, and his work often features characters wrapped in ribbons and multicolored cables, symbolizing the intricate connection between humanity and the environment. Ngassi is a graduate of the Mbalmayo Artistic Training institute in Cameroon.
This work, part of the series "Under Our Footsteps," delves into the ongoing narrative surrounding waste management post-consumption and the accountability of companies in the production chain. While these companies undoubtedly contribute to human progress, a pivotal question remains unanswered: how do we responsibly handle our waste? Are we witnessing an alarming trend of overconsumption, which threatens our identity as sentient beings capable of rational thought? It's imperative to emphasize the necessity for tangible, sustainable solutions rather than engaging in superficial debates and conferences devoid of meaningful action. Let's not be the generation that passes on chaos to future generations!
A Cameroonian multimedia artist, Abdias seeks not to translate misery and pain, but to instill joy, resilience, and the will to succeed through vibrant color palettes. As a graduate of art and later sociology from the University of Douala (Cameroon), he draws inspiration from current events to address issues such as urban mobility, dehumanization, and urban space. Since 2011, he has participated in over 30 exhibitions in Cameroon and Mali, but has most notably earned distinctions as the “Discovery” laureate at the Goethe Institut Kamerun in 2015 and the "Pascale Martine Tayou Prize" during the S.U.D 2017 triennale.
This work highlights the precarious aspects of global transportation. It tells the story of the love that exists between people abandoned by the government and an old transport vehicle. It is a suggestion of urban instability in a society like ours.
Ngameni Daybor comes from a family rooted in old African traditions from his grandparents, traditions he came to love and cherish, but which he has seen erode over time in an increasingly digitally-dominated world. Committed to preserving these invaluable traditions, he conceived of an innovative “5ND technology approach” (5th dimension Nga.daybor) to artwork in 2007. This groundbreaking approach blends tradition with modernity, infusing digital pixels to construct fantastical realms juxtaposing traditional elements with contemporary aesthetics, thereby ensuring the enduring relevance of his work in today's society.
Song of Honor pays tribute.
To all those mothers who claim to have a certain traditional cultural identity, and define themselves as worthy ambassadors of this traditional culture through the outfits they wear.
They fight every day to promote and perpetuate this traditional cultural identity in modernity, through their tailor-made clothing, a real living mobile museum.
I always feel captivated by them, their elegance, and the choice of well-made clothes they wear. Each event for them is an excuse to dress up, to show diversity through their clothing, which reflects ancestral cultural tones dipped in modernity. I created this work to reflect the impact that traditional culture represents on modern African society.
Beaches, mountains, deserts, food, culture, language… Cameroon is known as “Africa in Miniature” for offering a taste of everything the continent has to offer. Including art! In “Cameroon Créateurs,” Orangehare highlights 7 artists who embody the nation’s burgeoning and diverse creative landscapes. From textiles to tribal masks, these creators draw inspiration from sources as varied as their country’s borders to offer sweeping views into themes such as motherhood, fast-fashion, labor, and beyond. Critically acclaimed, many of their pieces adorn esteemed institutions worldwide, including the World Bank in Washington DC and various galleries and museums throughout Africa, France, and Spain. Now, Orangehare is proud to present these “Cameroon Créateurs” on Opensea, and give web3 a taste of what the future art of Cameroon will look like.
The work of William Tagne is an exploration of the existential patterns of humans in society. Through his work, he addresses subjects such as childhood, education, resistance, identity, and even time. Haunted by images that marked his childhood and his teenage life, Tagne is obsessed with the need to tell his story and that of the people of Cameroon. These difficult moments in his life still haunt him, but through them, he forges his humanity and artwork.
“Through the practice of my art, I try to exorcise my fears and my demons of yesterday. Every stroke of the paintbrush is an action to denounce and condemn the violence, crimes, and horrors that traumatize society and which claim the lives of millions of children worldwide in indifference.”
This painting is part of a series of works entitled Stolen Childhood that I started in 2015, which deals with the issue of children's rights, which denounces forced labor and therefore children are victims. Through its poetic aesthetic, I aim to convey the dreams and ideals that each child embodies, emphasizing their equality and inherent dignity as individuals.
Fa’a! A name that gently distinguishes him from his fellow painters and graphic designers. We almost want to sing this name with its captivating musicality! What if that was the idea all along? To lead us to hum his paintings, give thanks to his quadrilateral-shaped openings, and relish his carefully chosen colors, so that his world and ours become one!
It's taking shape! The idea is to go beyond textiles and tell the story of the evolution of masks in our spaces and take us back to our culture. But this does not mean covering your face. What does it mean to disguise yourself to hide your identity? And as we do that, what is identity?
Born in Bamenda, Cameroon, Anje focuses his artistic endeavors on exploring themes of fashion, identity, and consumer culture. This started when he immersed himself in the studios of local artists in Brazzaville, Congo, where he encountered fashionable young men known as “Dandies,” who dress in a loud form. After graduating with his master’s degree in drawing and painting from the Institute of Fine Arts of Foumban (IBAF), his works have garnered international recognition, with pieces finding their place in prominent collections such as the permanent collection of the World Bank in Washington D.C. and various collections of esteemed collectors worldwide.
I create vivid neo-pop works that place my subjects against contrasting heavily logoed backgrounds in a way that reveals their sartorial elegance and pride while querying the persuasive influence of consumer culture. My works engage societal issues like race, identity policies, and fashion branding (consumerism).
Bienvenue Fotso’s is a visual artist based in Douala, Cameroon. Her artistic practice, which she terms "archi-landscapes," delicately explores the interconnected relationship between humanity and nature. Her work spans painting, photography, and video, with notable exhibitions including her debut solo show ‘FIPAN-GRASS’ (African Art Beats Gallery, Washington 2022), and group exhibitions such as "The Place of the Human" (Douala 2017); "TODAY" (Yaoundé 2019) at the National Museum; "A Vision Contemporary Act VIII" (Yaoundé 2018) at the World Bank headquarters; and Artu’Elles Interferences (2020) at the Annie Kadji Art Gallery. Fotso received her training at the Futur’Art association, a collective dedicated to the training and promotion of young artists since 2015.
Fotso's work often highlights the risk of losing ancient knowledge of the healing properties of plants, developed over thousands of years, preserved in the memory of ancient people and passed down orally from generation to generation.
My work is created by layering flat areas of acrylic paint on cotton canvas, and the overlap of the elements very clearly evokes the community of fate between humans and the forest, i.e. nature as a whole. Because the rate at which the world's forests are disappearing puts human survival at risk. This overlap also reinforces, on the one hand, my crazy dream of reforesting the world, and on the other, the idea that humans can exist through built structures without the need to make forests disappear. Humans must become more aware of forests and communities of destiny
"Java Plum" belongs to Fotso's ‘Health in Nature’ series, which illuminates health through medicinal plants. As the ecosystems from which these plants originate continue to be at risk (deforestation, pollution leading to global warming, etc.), the risk of biodiversity loss increases.
André Joël Ngassi defines himself as a researcher of the mystery of art. His work is oriented toward a global look at the “unsanitary conditions and their mechanisms, and the relationship between humans, nature, and the Divine." Through symbolic forms, he aims to depict society’s many responsibilities, and his work often features characters wrapped in ribbons and multicolored cables, symbolizing the intricate connection between humanity and the environment. Ngassi is a graduate of the Mbalmayo Artistic Training institute in Cameroon.
This work, part of the series "Under Our Footsteps," delves into the ongoing narrative surrounding waste management post-consumption and the accountability of companies in the production chain. While these companies undoubtedly contribute to human progress, a pivotal question remains unanswered: how do we responsibly handle our waste? Are we witnessing an alarming trend of overconsumption, which threatens our identity as sentient beings capable of rational thought? It's imperative to emphasize the necessity for tangible, sustainable solutions rather than engaging in superficial debates and conferences devoid of meaningful action. Let's not be the generation that passes on chaos to future generations!
A Cameroonian multimedia artist, Abdias seeks not to translate misery and pain, but to instill joy, resilience, and the will to succeed through vibrant color palettes. As a graduate of art and later sociology from the University of Douala (Cameroon), he draws inspiration from current events to address issues such as urban mobility, dehumanization, and urban space. Since 2011, he has participated in over 30 exhibitions in Cameroon and Mali, but has most notably earned distinctions as the “Discovery” laureate at the Goethe Institut Kamerun in 2015 and the "Pascale Martine Tayou Prize" during the S.U.D 2017 triennale.
This work highlights the precarious aspects of global transportation. It tells the story of the love that exists between people abandoned by the government and an old transport vehicle. It is a suggestion of urban instability in a society like ours.
Ngameni Daybor comes from a family rooted in old African traditions from his grandparents, traditions he came to love and cherish, but which he has seen erode over time in an increasingly digitally-dominated world. Committed to preserving these invaluable traditions, he conceived of an innovative “5ND technology approach” (5th dimension Nga.daybor) to artwork in 2007. This groundbreaking approach blends tradition with modernity, infusing digital pixels to construct fantastical realms juxtaposing traditional elements with contemporary aesthetics, thereby ensuring the enduring relevance of his work in today's society.
Song of Honor pays tribute.
To all those mothers who claim to have a certain traditional cultural identity, and define themselves as worthy ambassadors of this traditional culture through the outfits they wear.
They fight every day to promote and perpetuate this traditional cultural identity in modernity, through their tailor-made clothing, a real living mobile museum.
I always feel captivated by them, their elegance, and the choice of well-made clothes they wear. Each event for them is an excuse to dress up, to show diversity through their clothing, which reflects ancestral cultural tones dipped in modernity. I created this work to reflect the impact that traditional culture represents on modern African society.
Beaches, mountains, deserts, food, culture, language… Cameroon is known as “Africa in Miniature” for offering a taste of everything the continent has to offer. Including art! In “Cameroon Créateurs,” Orangehare highlights 7 artists who embody the nation’s burgeoning and diverse creative landscapes. From textiles to tribal masks, these creators draw inspiration from sources as varied as their country’s borders to offer sweeping views into themes such as motherhood, fast-fashion, labor, and beyond. Critically acclaimed, many of their pieces adorn esteemed institutions worldwide, including the World Bank in Washington DC and various galleries and museums throughout Africa, France, and Spain. Now, Orangehare is proud to present these “Cameroon Créateurs” on Opensea, and give web3 a taste of what the future art of Cameroon will look like.
The work of William Tagne is an exploration of the existential patterns of humans in society. Through his work, he addresses subjects such as childhood, education, resistance, identity, and even time. Haunted by images that marked his childhood and his teenage life, Tagne is obsessed with the need to tell his story and that of the people of Cameroon. These difficult moments in his life still haunt him, but through them, he forges his humanity and artwork.
“Through the practice of my art, I try to exorcise my fears and my demons of yesterday. Every stroke of the paintbrush is an action to denounce and condemn the violence, crimes, and horrors that traumatize society and which claim the lives of millions of children worldwide in indifference.”
This painting is part of a series of works entitled Stolen Childhood that I started in 2015, which deals with the issue of children's rights, which denounces forced labor and therefore children are victims. Through its poetic aesthetic, I aim to convey the dreams and ideals that each child embodies, emphasizing their equality and inherent dignity as individuals.
Fa’a! A name that gently distinguishes him from his fellow painters and graphic designers. We almost want to sing this name with its captivating musicality! What if that was the idea all along? To lead us to hum his paintings, give thanks to his quadrilateral-shaped openings, and relish his carefully chosen colors, so that his world and ours become one!
It's taking shape! The idea is to go beyond textiles and tell the story of the evolution of masks in our spaces and take us back to our culture. But this does not mean covering your face. What does it mean to disguise yourself to hide your identity? And as we do that, what is identity?
Born in Bamenda, Cameroon, Anje focuses his artistic endeavors on exploring themes of fashion, identity, and consumer culture. This started when he immersed himself in the studios of local artists in Brazzaville, Congo, where he encountered fashionable young men known as “Dandies,” who dress in a loud form. After graduating with his master’s degree in drawing and painting from the Institute of Fine Arts of Foumban (IBAF), his works have garnered international recognition, with pieces finding their place in prominent collections such as the permanent collection of the World Bank in Washington D.C. and various collections of esteemed collectors worldwide.
I create vivid neo-pop works that place my subjects against contrasting heavily logoed backgrounds in a way that reveals their sartorial elegance and pride while querying the persuasive influence of consumer culture. My works engage societal issues like race, identity policies, and fashion branding (consumerism).
Bienvenue Fotso’s is a visual artist based in Douala, Cameroon. Her artistic practice, which she terms "archi-landscapes," delicately explores the interconnected relationship between humanity and nature. Her work spans painting, photography, and video, with notable exhibitions including her debut solo show ‘FIPAN-GRASS’ (African Art Beats Gallery, Washington 2022), and group exhibitions such as "The Place of the Human" (Douala 2017); "TODAY" (Yaoundé 2019) at the National Museum; "A Vision Contemporary Act VIII" (Yaoundé 2018) at the World Bank headquarters; and Artu’Elles Interferences (2020) at the Annie Kadji Art Gallery. Fotso received her training at the Futur’Art association, a collective dedicated to the training and promotion of young artists since 2015.
Fotso's work often highlights the risk of losing ancient knowledge of the healing properties of plants, developed over thousands of years, preserved in the memory of ancient people and passed down orally from generation to generation.
My work is created by layering flat areas of acrylic paint on cotton canvas, and the overlap of the elements very clearly evokes the community of fate between humans and the forest, i.e. nature as a whole. Because the rate at which the world's forests are disappearing puts human survival at risk. This overlap also reinforces, on the one hand, my crazy dream of reforesting the world, and on the other, the idea that humans can exist through built structures without the need to make forests disappear. Humans must become more aware of forests and communities of destiny
"Java Plum" belongs to Fotso's ‘Health in Nature’ series, which illuminates health through medicinal plants. As the ecosystems from which these plants originate continue to be at risk (deforestation, pollution leading to global warming, etc.), the risk of biodiversity loss increases.
André Joël Ngassi defines himself as a researcher of the mystery of art. His work is oriented toward a global look at the “unsanitary conditions and their mechanisms, and the relationship between humans, nature, and the Divine." Through symbolic forms, he aims to depict society’s many responsibilities, and his work often features characters wrapped in ribbons and multicolored cables, symbolizing the intricate connection between humanity and the environment. Ngassi is a graduate of the Mbalmayo Artistic Training institute in Cameroon.
This work, part of the series "Under Our Footsteps," delves into the ongoing narrative surrounding waste management post-consumption and the accountability of companies in the production chain. While these companies undoubtedly contribute to human progress, a pivotal question remains unanswered: how do we responsibly handle our waste? Are we witnessing an alarming trend of overconsumption, which threatens our identity as sentient beings capable of rational thought? It's imperative to emphasize the necessity for tangible, sustainable solutions rather than engaging in superficial debates and conferences devoid of meaningful action. Let's not be the generation that passes on chaos to future generations!
A Cameroonian multimedia artist, Abdias seeks not to translate misery and pain, but to instill joy, resilience, and the will to succeed through vibrant color palettes. As a graduate of art and later sociology from the University of Douala (Cameroon), he draws inspiration from current events to address issues such as urban mobility, dehumanization, and urban space. Since 2011, he has participated in over 30 exhibitions in Cameroon and Mali, but has most notably earned distinctions as the “Discovery” laureate at the Goethe Institut Kamerun in 2015 and the "Pascale Martine Tayou Prize" during the S.U.D 2017 triennale.
This work highlights the precarious aspects of global transportation. It tells the story of the love that exists between people abandoned by the government and an old transport vehicle. It is a suggestion of urban instability in a society like ours.
Ngameni Daybor comes from a family rooted in old African traditions from his grandparents, traditions he came to love and cherish, but which he has seen erode over time in an increasingly digitally-dominated world. Committed to preserving these invaluable traditions, he conceived of an innovative “5ND technology approach” (5th dimension Nga.daybor) to artwork in 2007. This groundbreaking approach blends tradition with modernity, infusing digital pixels to construct fantastical realms juxtaposing traditional elements with contemporary aesthetics, thereby ensuring the enduring relevance of his work in today's society.
Song of Honor pays tribute.
To all those mothers who claim to have a certain traditional cultural identity, and define themselves as worthy ambassadors of this traditional culture through the outfits they wear.
They fight every day to promote and perpetuate this traditional cultural identity in modernity, through their tailor-made clothing, a real living mobile museum.
I always feel captivated by them, their elegance, and the choice of well-made clothes they wear. Each event for them is an excuse to dress up, to show diversity through their clothing, which reflects ancestral cultural tones dipped in modernity. I created this work to reflect the impact that traditional culture represents on modern African society.
