French-Beninese artist King Houndekpinkou questions the complexities that characterise his multicultural, diasporic circumstances by exploring the notion of ‘peripheries’ in his practice, firstly by choosing to work mainly with clay. Trained in the ceramic practice with Japanese masters such as Toshiaki Shibuta, he examines ideas of visceral and spiritual interlaying informed by the Vodun religion that originated from Benin, as well as Japanese Shinto.
Interrogating the status of the mundane object, he throws universally functional forms such as cups, bowls, and plates, transforming them radically and masterfully by way of collages, glazes, and paint. He creates sculptures with rich hues and intricate textures that conjure up notions of hybridity and summon up elements of the Pop language. A member of the International Academy of Ceramics, his work has been shown in Institutions such as Grassi Museum, Leipzig, Germany; Fondation Donwahi, Abidjan, Ivory Coast; Guoshong Art Museum, Beijing, China; and Boca Raton Museum of Art, Florida, USA.