Interview with Congolese comic author Pat Masioni

In 2005, Pat Masioni won international fame with the publication of a two part comic book based on the 1994 Rwanda genocide “Rwanda 94”-“Descente en enfer” (Descent into Hell) and “Le camp de la vie” (The Camp of Life). These publications elevated Masioni to the ranks of a master of his art.

His work was included in a volume of the famous series Unknown Soldier about the war in Uganda, published in the United States by Vertigo/DC Comics. He was also selected with nine other artists to collaborate on a special edition of Colors international magazine about Super Heroes (March 2011).

Pat, on your blog you wrote “le soleil brille”, the sun is shining, but it can’t have been easy getting this far in international comics publishing?

It was hard because the world of European comics is a little closed. The publishers are hesitant about African authors, whose books may not sell well. I arrived in France as a refugee in 2002. As soon as I obtained my residence permit, I started to get small jobs as an illustrator and cartoonist.

The turning point came with the publication of “Rwanda 94”, which received very positive reactions from the press and from the critics and consequently made me famous.

What training do you have in comic art? After all, your studies were in architecture.

I studied interior design in the Kinshasa Academy of Fine Art but my training in drawing comics started at the age of 12 when my art teacher encouraged me by giving me books, magazines and materials to work with. I published my first drawing at the age of 14, which was a compact disc cover, and so I gained confidence. While studying at the academy I attended painting and ceramics courses at a private studio. I also contacted the Saint Paul publishing house in the Democratic Republic of Congo (DRC) and got a contract for a nine-volume history of Jesus Christ (a book that is still being reprinted and distributed throughout francophone West Africa). An art workshop at the French Cultural Centre was also important for my artistic development.

You draw situations with meticulous realism. What are your influences?

When I was in the DRC, my favourite author was Jean Giraud, but since I arrived in France I have had the opportunity to see a number of different publications. I am a fan of comics and follow everything that is “just published”, where I find my inspiration. My style is evolving but is always recognizable.

In the African comics landscape, Congolese authors are renowned for   excellence in their craft. What are the reasons?

Since 1953, we have had good arts schools in the DRC (formerly the Belgian Congo), but the biggest opportunity arrived in 1968 with the publication of the comic, Jeune pour Jeunes. Publishing professionally scripted black and white comic stories, the magazine was circulated widely throughout the country. As young artists, we enthusiastically bought every issue. We copied the comics’ drawings as well.

In this respect, the cultural model of our colonizing country, Belgium, had a positive influence. In addition, different artists such as Barly Baruti, travelled to Europe and brought different methods and ideas back to the Congo. At the moment, the DRC has a good and diversified comics publishing industry, with several associations, magazines, and festivals.

Sandra Federici