Ludovic Nkoth

A Dear Statement to the Soul

- Charles Moore

Cameroon-born painter Ludovic Nkoth takes issue with the common public perception of Black artists. Through a critical lens, being Black, in essence, comes to shape creatives’ identities, but Nkoth feels a separation is missing, the distinction between being Black and being an artist so paramount to his path. In this way, it makes sense that the New York-based painter considers himself a Black man rather than a Black artist, stating that while his background has undeniably shaped his trajectory, his work speaks for itself.

And it certainly has. After earning a BFA from the University of South Carolina, Nkoth went on to pursue an MFA from Hunter College and has lived in Manhattan ever since, though recent shows have required quite a bit of travel. Nkoth’s exhibition Don’t Take This Too was on view at the François Ghebaly Gallery in Los Angeles this past winter, featuring striking portraits of Black bodies—some crafted from fantasy, and others from memory—abstracted through his vibrant palette. A descendant of the Bassa and Yambasa tribes in Cameroon, the artist pays homage to his upbringing and life journey as he sheds light on the choice to leave his mother in Africa for his father and the States, a move that shaped his life. There’s a sense of ceremonial hope in these layered familial portraits, of passing through time and space. Additionally, the intricately painted masks from his native Cameroon add powerful depth and resonance.

The overwhelming contrasts within Nkoth’s work are dramatically apparent in his newer pieces, including the renowned