*Ivoire Magazine : KMLH, what are your itineraries on this planet, the destinations you‘re heading for?

KMLH : Self-instructed, I drew a lot and did many on-the-spot sketches to capture movement. Then highly attracted by matter, I made collages, using paper, pieces of fabric….. Abstract creations, as I let myself are guided by the shapes and colours I found. I employed many pieces of loincloth, rope and bark, such as tapa.
Same principle when I undertook soldering, creating in space these “collages” from bits of scrap iron, sculptures often like video grams.

My first monumental work in steel was 7 meters high, made for the Sciam building in 1975, ordered by architect Renard.
Next, I tackled marble in Italy to make monumental works there, such as “the offering” in marble for the cathedral of Abidjan, 6 meters tall, as well as a work for the academy of the sea, in marble as well 4 meters tall, and other privates orders, like that for “les Assurances du Mans”, 2m20 tall, and that for “maître Kanga” in Ayamé, 3 meters tall, in marble and bronze.

*Ivoire magazine : Tell me about your places and sources of inspirations?

KMLH : First, reminisces of Asia, where I was born- prints ideograms, the perfect balance of Japanese gardens, ikebana etc……
And memories of Africa, where I’ve lived since age of 17. Trip made on that continent, crossings of desert…I like to go into the villages, as closely as possible into the daily life of people there and dig into the meaning of their lives, their mentalities, and their cosmogony. The Dogon country, in particular, where are born”bilikos”, that is to say “baggage” in the Sangho language, physical baggage, and I made stock of it.

*Ivoire magazine : How do you explain that existential need that led you to transpose your emotions in the inverse of Tai forest in the Ivory Coast to express them through land art?

KMLH : The trips led me to want to insert myself more in nature, to directly create ephemeral works and installations. Like artists such as nails Udo, Andy Goldsworthy…to make due with what I found. After the desert, the sahel, the tai Forest, that primary forest, heritage of humanity, was an absolutely fantastic experience. Going into the forest gives one the feeling of penetrating into the origins of the world, like returning back into matrix. A closed world, where life is perpetually being reborn. I created there works directly inspired by plant life, but I also used animal bones seeds… A liana evoked for me an umbilical cord.
The evolution of life is very powerful in the forest, with all its cries and odors. One feels there all the forces of earth and nature.

*In what latitudes do you situate yourself to day?

KMLH : The experience of these installations in nature made me develop spontaneity in creation, accompanied by, in spite of everything, a reflection, but all this in a state of urgency (taking into account the fleeting light, climate, technical difficulties…..). One creates under pressure; it’s a second state, like a trance. You are totally taken up by the creation.

*Ivoire magazine :Where will you go next?

KMLH : Nature has somewhat modified my works. For my exhibits, I’m introducing in ideas from nature.
I’m currently preparing for the Shibuya Park Hotel in Tokyo three art Works, immense trees made of tapa.
My future direction will be continue to make sculptures, bronze glass, but I hope as well to live out other experiences in nature, in other experiences in nature, in other countries, in Africa or elsewhere in the world.
Soon I hope another film on nature, after the one made my work in the tai forest, by Stephane Boni Boni Seka.
My work has gone through a strong evolution: I mix more matter, I’m going to mix lianas with glass, bronze, feathers and bones.
I’m soon taking off for other destinations: France for some personal exhibits, in June to Marseille, New York, Japan, and Tokyo in September.