• Born in 1968 in Bafang, Cameroon, Hako Hankson grew up under the influence of the art and culture of the sources of his country.
    His father was a notable person in Cameroon and also a sculptor and musician of the Royal Palace. Hako was therefore brought up surrounded by objects of initiation rites: masks, statuettes, totems etc. 
     
    Hako Hankson's works possess an essential recognisability, the use of masks, tribal figures, the careful choice of colours and the abundance of details and decorations make his works a concentration of Africa. They are distinct and carefully delineated elements that narrate, through expressions and compositions, the cultural history of this continent. 
    The use of masks stems from a profound philosophy of life, practised and recognised by Hako Hankson, handed down to him by his father: animism.
     
     
     
     
  • 'MY FATHER, FOR HIS PART, DREW ME INTO ANIMIST BELIEFS: FOR EXAMPLE, BY USING MASKS AND STATUETTES IN A DIALOGUE...
    Hako Hankson, Festive days at the chiefdom, 2024, Acrylic and Indian ink on canvas, 150 × 150 cm
    "MY FATHER, FOR HIS PART, DREW ME INTO ANIMIST BELIEFS: FOR EXAMPLE, BY USING MASKS AND STATUETTES IN A DIALOGUE WITH THE AFTERLIFE, AND THAT'S HOW I CAME TO UNDERSTAND THE POWER OF MASKS, WHAT THEY COULD CARRY AS A SPIRIT, A SOUL, SOMETHING SUBTLE THAT WE CAN'T CONTROL"
  • Hako Hankson, Bamileké engagement days, 2024, Acrylic and Indian ink on canvas, 150 × 150 cm
  • His works have an intrinsic narrativity, in fact, although the viewer sees well-defined elements, plots and fantasies develop on the canvas enriching the aesthetic beauty of the masks. One often comes across human figures, convivial scenes depicted as if they were small visions within the works themselves. This indicates a link that Hako Hankson has always wanted to express: animism uses elements, such as masks, to converse with the afterlife and thus take on a spiritual, as well as an earthly character, acting as a bridge between soul and body. 
    In the artist's canvases there appear flashes of humanity, encounters, human figures in their own right, or other elements, even animals, which always strictly maintain an almost rupestrian line of representation.
    • Hako Hankson, The bark and the tree, 2024
      Hako Hankson, The bark and the tree, 2024
    • Hako Hankson, The journey of the soul, 2024
      Hako Hankson, The journey of the soul, 2024
    • Hako Hankson, The laws of the palace, 2024
      Hako Hankson, The laws of the palace, 2024
  • In fact, Hako Hankson's works also turn their attention to the past, underlying which is an important creative study of ancient African graphic descriptions. Not far removed from what are, for us, rupestrian paintings. In this way, the artist expresses a strong attachment to his own land, communicating it to Africans, showing their shortcomings and problems, almost in a codified language that, only thanks to a strong globalisation, becomes familiar to us too, reminding us of American or European artists who, appropriating a very similar imagery, revolutionised western aesthetics. In his works, the artist describes what has always surrounded him, through a universal language that is as clear as it is intricate.
    He goes back to his origins, narrating different situations and characters, as humanity once did, but he evolves his language, enriches it and complicates it to make it futuristic. So as to attract the interest of the viewer, who loses himself in the immensity of the details.
    Hako Hankson's painting addresses his homeland, but at the same time he wants to export what he sees as contemporary Africa to the world, narrating it through elements of what Africa once was, while maintaining its tribal nature. It is a message of hope, a new language that can lead the African continent to a better future.
  • “If I don’t feel the energy in a line or a shape, it’s not worth it. And my inspiration for...
    Hako Hankson, Babanking dance headdress, 2024, Acrylic and Indian ink on canvas, 140 × 120 cm
    “If I don’t feel the energy in a line or a shape, it’s not worth it. And my inspiration for this is Jean-Michel Basquiat. For him each line was a piece of art”.
    • Hako Hankson, Bamileké engagement days, 2024
      Hako Hankson, Bamileké engagement days, 2024
    • Hako Hankson, Lust for the throne, 2024
      Hako Hankson, Lust for the throne, 2024
    • Hako Hankson, We are sorry , 2024
      Hako Hankson, We are sorry , 2024
  • “The artists who influenced me at that time were Antoni Tàpies, for the depth, the spontaneity, the right gesture, Dubuffet,...
    Hako Hankson, Initiatory journey, 2024, Acrylic and Indian ink on canvas, 150 × 150 cm
    “The artists who influenced me at that time were Antoni Tàpies, for the depth, the spontaneity, the right gesture, Dubuffet, who created a set of drawings similar to what I had already seen or imagined, and Macréau, for his striking figures that provoke strong emotions.”
  • Hako Hankson, The star of the palace, 2024, Acrylic and Indian Ink on canvas, 200 × 200 cm
  • HAKO HANKSON - VENICE BIENNALE 2024 Hako Hankson is currently representing the Cameroon Pavilion at the 60th Venice Biennale 2024....
    Hako Hankson, Ritual of passage, 2024, Acrylic and Indian Ink on canvas, 200 × 200 cm

    HAKO HANKSON - VENICE BIENNALE 2024

     
    Hako Hankson is currently representing the Cameroon Pavilion at the 60th Venice Biennale 2024.
    As part of a Biennale dedicated to foreigners and their diasporas, the National Pavilion of the Republic of Cameroon brings to international attention some Cameroonian and international artists, outside their native context but involved in a project of broad views.
    The Pavilion of the Republic of Cameroon presents itself as the “pavilion of wonders,” where projects by local and international artists come together to celebrate the courage of those who have never abandoned their ideas, regardless of the recognition obtained locally, ambitiously looking towards a deserved international horizon. A Pavilion where differences are considered wealth and where no one feels like a “stranger.”
    With his extraordinary artistic vision, Hankson brings a profound reflection on the cultural roots and contemporary challenges of his country. His work promises to fascinate and inspire visitors, offering a unique exploration of contemporary African art. 
     
  • Installation views at the cameroon Pavillion at the Venice Biennale