The artist Fiel dos Santos
Fiel dos Santos
Fiel dos Santos, 32, is a member of Nucleo de Arte, an artists collective in Mozambique’s capital, Maputo.
After Mozambique's 16-year civil war ended in 1992, the Christian Council of Mozambique set up a weapons exchange - a guns-for-tools deal. The surrendered arms were then broken up and given to Nucleo de Arte.
Fiel and three fellow artists were recently commissioned by Christian Aid and the British Museum to create a centrepiece work for the Africa 05 season. The result was the remarkable Tree of Life.
Here, Fiel talks about guns, politics and the art of not selling out.
Fiel and three fellow artists were recently commissioned by Christian Aid and the British Museum to create a centrepiece work for the Africa 05 season. The result was the remarkable Tree of Life.
Here, Fiel talks about guns, politics and the art of not selling out.
You grew up against a backdrop of bloody civil war in your home country. How has this experience coloured your work?
Where I live, 14km outside of Maputo, it wasn’t in the centre of the fighting. But when I was 15 my brother was captured near our home by the Renamo [the anti-government resistance movement] and kept for six years. So of course the war affected me and my work.
'My objective is to communicate how it is possible to create a civilisation for peace, and that it is possible to live in a world without war'
My art is very personal. I try to express feelings I have had and talk about things that have happened. So at first it was very difficult to work with the weapons because it brought back a lot of memories. It was hard to ignore that these things had been used to kill.
What is it that you are trying to say with your Transforming Arms into Tools pieces, and are you happy that your message comes across clearly?
My objective is to communicate how it is possible to create a civilisation for peace, and that it is possible to live in a world without war.
The material I have worked with here speaks for itself – I try to make it say something different. So I have turned them into birds, flowers and animals. Step by step, I try to introduce themes that make people think about peace and not about war.
The material I have worked with here speaks for itself – I try to make it say something different. So I have turned them into birds, flowers and animals. Step by step, I try to introduce themes that make people think about peace and not about war.
'...there's always a time when there is a big gap between what I say and what some people hear. You keep persisting, though'
I have been having a very positive response from people, but I am never 100% satisfied, because there's always a time when there is a big gap between what I say and what some people hear. You keep persisting, though.
Do you see your work as political?
In a way yes, but it depends on how you mean political.. Politicians in Mozambique have in the past taken works of art or songs or such that have a strong political thread and used them for their own means.
'...of course, the Tree of Life is political – you can't talk about guns without talking about politics'
You must remember we have only had democracy for 12 years in Mozambique. We can remember when everything was dictated by politicians and politics. Now people have more space to create and be what they are. For example, before it was very difficult for me to be a Rastafarian, but now everyone accepts me for what I am. So, of course, the Tree of Life is political – you can’t talk about guns without talking about politics. But I prefer to think of it as providing civic and political education in an indirect way.
You say 'indirect'. Is it important to you that your art engages people 'on a level' instead of talking down, or dictating to your audience.
The work I do, I get from society. I always try to work with people, working with others' creativity, artists and non-artists. I try to understand people, understand what they like to see. But I also try to use my art to speak back to them. It is like a conversation.
It can be really powerful. I have even had people thanking me for showing them different coordinates, helping them think about things in a different way.
It can be really powerful. I have even had people thanking me for showing them different coordinates, helping them think about things in a different way.
'The idea was to show these children that they can create something and put it on show... It gives them a new image of themselves'
Two years ago I was working with street children in Maputo. The results were really rewarding. The idea was to show these children that they can create something and put it on show. I wanted them to feel that they have something to say. It gives them a new image of themselves.
One of Africa 05’s principal aims is to give British art lovers an idea of where African art is today. How do you see the current state of art in Africa?
Africa is a breeding place for many different kinds of art, and we have very good artists. However, the artist lives in the moment, and this means many African artists get lost in trying to sell their work to the west. It is an illness. I think art should be innovative, not only for consumption.
So do you think some African artists continue to make so called ‘tribal art’ purely because it meets the expectations and demands of western art buyers?
Yes, they do. I know a lot of people who work this way. So much African art is just made to be sold.
'Art and creativity should bring a spiritual feeling of well-being which is not in straight relation with consumption'
I don’t appreciate this, and I don’t get involved in it. Art and creativity should bring a spiritual feeling of well-being which is not in straight relation with consumption.
Art should become someone’s livelihood. It should sit alongside other aspects of your life. Its benefits aren’t just to do with making money.
Art should become someone’s livelihood. It should sit alongside other aspects of your life. Its benefits aren’t just to do with making money.
What can Africa 05 change?
I believe it will help change people’s preconceptions about Africa and its art here in Britain. But it will also help change African artists and the way they look at their art.
I hope that artists will start to consider their art in the long run. For example, this project we started working on it in 2003. Everything takes time. Hopefully more artists will look for international projects to look for other ways to create without just aiming for sales.
So I think Africa 05 will help work as an incentive for more artists to give more cultural or social meaning to their art.
Click here for more information on Africa 05
I hope that artists will start to consider their art in the long run. For example, this project we started working on it in 2003. Everything takes time. Hopefully more artists will look for international projects to look for other ways to create without just aiming for sales.
So I think Africa 05 will help work as an incentive for more artists to give more cultural or social meaning to their art.
Click here for more information on Africa 05
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