Kim Mupangilaï
Design | Interior | Exhibitions | References | Research & Case Studies
Hue I Am/Hue Am I
JUNE 28 - AUGUST 20, 2023
SOLO SHOW
The debut the Kasai Series’ furniture collection.
Superhouse Gallery, 120 Walker Street, 6R, New York, NY 10013
Superhouse Gallery, 120 Walker Street, 6R, New York, NY 10013
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The title mirrors the ambiguity and interpretation of both my identity
and my work. ‘HUE’ symbolizes the spectrum of colors and shades,
representing the layers of my heritage, the discernment of cross-
culture and the dependence of ancestral storytelling. This body of work serves as a (personal) cross-cultural self portrait
(experience) of ancestral heritage with a sensibility to volume and
mass, rhythmical articulation and contour. While there is no shorta-ge of “personal” bodies of work in the design world, these particular pieces go beyond personal and into the depths of self-reflective,
explorative territory. This unique perspective from which I design
provides a lens that is both rare and interpretive, distinguishing my
work in the design world. Each piece is both functional and complex, merging aesthetic depth
with practical utility, making the work versatile and
purpose-driven.
- Raised in a small town in Belgium with a Belgian mother and a
Congolese father, I instinctively adapted to the Western culture
around me, which led to an ongoing exploration of my identity. This
journey has shaped my work into a montage of opposites translated
into a perfect amalgamation, blending my deep appreciation for
primitive African artifacts with Western design aesthetics, all while
maintaining a focus on functionality. My aim is to bridge the fine line
between cultural appropriation and cultural appreciation, creating
designs that are deeply personal yet universally resonant.
My Belgian roots and Congolese heritage, the catalyst of contrasts—a conceptual process that informs each piece as a personal
cross-cultural dialogue. Each design speaks to the interplay of cultural identity, reflecting the complex layers of heritage and adaptation
that define who I am and what I create.
- The collection consists of seven furniture forms, made from natural materials – teak, stone, rattan, and banana fiber – all symbolic of the Democratic Republic of Congo. Rattan is traditionally found in baskets, rugs, and textiles while banana fiber is a reference to the banana leaves commonly used for cooking, serving, and food preservation. The teak and stone speak to the rich natural resources of the country. Hand-working these materials into domestic furnishings with exaggerated curves, Mupangilaï establishes her sensuous and playful visual language. Two terms that appear in the titles of each piece are “MSWASI”, meaning woman, and “BINA”, meaning dance. Thus, ideas of femininity, place, history, and culture, are reverently explored by the designer. The resulting collection is at once sumptuous and introspective.
- “I am overjoyed with bringing Kim’s unique voice to Superhouse’s audience.” says Stephen Markos founder and director of Superhouse. “The collection is a fresh perspective on art furniture, which for any artist or designer is no easy feat. The show connects many dots in the gallery’s programming, such as our past show, Ingrained, presenting contemporary women and non-binary identifying wood workers as well as our continued work with legendary artist and designer Wendy Maruyama.” While all the pieces in Kasaï are functional, they can have the appearance of being non-functional. This duality emphasizes the designer’s background and underscores her approach to design: one that places aesthetic on equal footing with purpose and use.
FOG Design+Art
JANUARY 22-25, 2026
ART FAIR
A platform for contemporary design and art that shifts, morphs, and reveals itself through multiple forms and dimensions.
Fort Mason Pier 2 and Pier 3 San Francisco.
- In this body of work presented at FOG Design+Art, I delve into the profound influence of Congolese culture on Belgian Art Nouveau, based on my ongoing research into how late 19th-century Belgian architects and designers exploited Congo’s resources and artistic motifs amidst their violent colonial domination. This exhibition marks the first subtle introduction of my new work, connecting the historical roots of Art Nouveau with its colonial entanglements. I aim to reclaim the ornamental elements—lash, vine, and elephantine gestures—that were historically appropriated by European colonizers, reintegrating them as emblems of dignity for my father's homeland.
- The installation recreates a bourgeois Belgian parlor from the turn of the 20th century, reflecting the opulent yet oppressive era. Central to the display is a fiber artwork by Maris Van Vlack, curated through Superhouse, which emulates the large stained glass windows found in affluent homes of that period, drawing stylistic influences from Congolese culture. This artwork serves as a critical piece, symbolizing the complex interplay of exploitation and artistic admiration, and questions the ethics of its original appropriation while highlighting the contributions of Congolese art to the European aesthetic.
Kim Mupangilaï ©