His assemblages are amorphous— hazing outwards, allowing his audience into his very own house of fun. The artist’s paintings are expressive and punctuated with feeling, themes that are inherently present in Gap-tooth, Alfie’s recent series and book comprised by his signature hyper-fun vision. Showcasing his playful nature, embodied in a series of large-scale silk paintings awash with zany characters depicting everything from swearing gummy bears to flying frogs.

Tagen Donovan:
LOOKING BACK TO THE BEGINNING OF YOUR CAREER, HOW WOULD YOU DESCRIBE THE EVOLUTION OF YOUR DISTINCTIVE VISUAL-STYLE?

Alfie Kungu:
I’ve always been driven by experimenting with new materials and processes of working. At the centre of this is always play. Ultimately, the combination of working with distinctive materials, focusing on experimental and playful methods creates a nuanced and familiar style.

LET’S TALK ABOUT THE WAY THAT YOU APPROACH YOUR PAINTINGS — THE FUSION OF COLOURS AND SHAPES CREATES A PLAYFUL FLUIDITY THAT FLOWS CONSISTENTLY THROUGHOUT YOUR WORK. HOW DO THESE ELEMENTS INFLUENCE YOUR CREATIVE PROCESS, AND WHAT WOULD YOU LIKE YOUR AUDIENCE TO TAKE AWAY FROM YOUR WORK?

I find the relationship between colour and texture fascinating. Powerful colours often dictate the flow of the paintings. I feel a sense of freedom when I’m in the process of painting. It’s always heartwarming to know that my work resonates with someone. To connect through my paintings hopefully means that the viewer shares some of the fun, energy and play that I feel when producing paintings.

THERE IS A FREEING ENERGY TO YOUR WORK, BALANCED OUT BY AN ABUNDANCE OF CHARM. AS AN OUTSIDER LOOKING IN, IT SEEMS DEEPLY PERSONAL TO HOW YOU SEE THE WORLD. DID GROWING UP IN YORKSHIRE SHAPE YOUR ARTISTIC FRAMEWORK? AND HOW HAS THIS MANIFESTED WITH THE CONTRAST OF CITY LIFE IN LONDON?

Growing up in Yorkshire I’d spend a lot of time around nature, playing in the woods and having to use my imagination to make my own fun. This freedom to play and explore certainly equipped me to be able to remain creative. I love living in the city, it’s a whole new way of gaining inspiration. I like to think of painting as an escape to a more natural and imaginative state of mind.

YOU’VE RECENTLY RELEASED A BOOK UNDER THE TITLE OF GAP-TOOTH, FOLLOWED BY HEARTENING PROMO VIDEO PRODUCED BY JAMES PAPPER. COULD YOU TELL ME ABOUT THE GENESIS AND ETHOS OF GAP-TOOTH?

Gap-tooth was really rewarding project. It was the culmination of lots of things coming together at the right time. I began making the silk paintings during the first lockdown while I was staying with my family. I’d hang the silks on the washing line along the street to dry in the sun. There was something so beautiful about the way the silks would dance in the wind, and the way the sunlight would radiate through them. There was definitely a nostalgic element to way I presented the works and this is something I wanted to emulate throughout the project.

COLOUR IS A LARGE PART OF YOUR PALETTE. WHEN DID YOU REALLY BECOME DRAWN TO COLOUR, AND HOW HAS YOUR SENSE OF COLOUR DEVELOPED OVER TIME?

I’ve always been drawn to colour. I think when deciding on a choice of colour, you can never be wrong in your own decision. It’s a very welcoming and facilitates part of process that enables you to communicate the energy and mood of the piece. Also, the relationships that multiple colours have when paired together is infinite, allowing a story to begin through the composition certain palettes mixed together or even by association of how you see them in the real world.

AS AN ARTIST CREATING CAPTIVATING WORK. WHAT HOLDS YOUR INTEREST AND WHERE DO YOU SOURCE YOUR INSPIRATION? WHAT CATCHES YOUR EYE?

Inspiration comes at you all the time. It’s predominantly where I get my ideas, from nature to animals, texture and even the colouring of a poisoned dart frogs and the simplicity of flowers. Also finding inspiration from people, personalities and music. Music is an infinitely inspiring source for me and I’m always listening to it wherever I am.

YOU’VE COLLABORATED WITH MANY ESTEEMED NAMES, RECENTLY TEAMING UP WITH NORTHFACE TO COLLABORATE ON A TEN-PIECE CAPSULE COLLECTION AND BEEN APART OF THE BLOOMBERG NEW CONTEMPORARIES, SHOWING YOUR WORK THE ESTEEMED ICA GALLERY IN LONDON. WHAT DOES COLLABORATION MEAN TO YOU? HOW IMPORTANT IS TO YOU TO HAVE A COMMUNITY WITHIN THE ARTS?

Collaboration can be difficult to navigate, mainly because you’re sharing yourself and your ideas with someone else, and vice versa in order to create a third creative space that can often lead to a slightly diluted version of the initial idea. However, when it does work, it can elevate your practice to place that you potentially might not have arrived at without collaboration. The best thing about working with people is being able to see your work entered into a new medium or space, one that might not have necessarily attainable as an individual.
Community within the arts is fundamental. We’re social creatures by nature and there’s an innate need to be with one another in order to support and be inspired by.

NFT’S HAVE DIVIDED AND IGNITED A NEW MOVEMENT ON THE ART SCENE. HOW DO YOU FEEL ABOUT THE OVERALL DIGITISATION OF ART? WOULD YOU CONSIDER MOVING INTO THE NFT REALM?

There are aspects of the digitised art world that are interesting, in terms of creativity taking on new forms. However, for me - my passion remains within the tangible world. Something that I can see in person, touch and share space with. I appreciate the imperfection and the personal touch of an artist, its something you can feel and relate to. In terms of digitised formats, there is definitely a lack of these tactile elements.

THERE IS AN IDEA THAT 'GOOD' TASTE IS ABOUT RESTRAINT, REDACTING VISUAL INFORMATION AND STREAMLINING IT. IN CONTRAST, YOUR WORK TENDS TO AMPLIFY FEELING BY WAY OF MAXIMALISM, TURNING THE VOLUME UP ON PLAYFULNESS. IN WHAT WAY DO YOU PERCEIVE THE CONCEPT OF 'GOOD' TASTE'? DO YOU THINK OF IT AS AN INHIBITOR TO BOTH THE VIEWER AND THE ARTIST? OR IS IT SOMETHING TO EMBRACE IN ORDER TO PUSH BOUNDARIES?

Funnily enough the need to refine is always at the forefront of my mind when making my work. However, sometimes I can’t help overindulging during the creative process, and at times it becomes a bit of a dance. Adding and subtracting the right amount, and seasoning the piece with the correct colours and reductions. Ultimately, there’s a constant back-and-forth with a piece until it settles somewhere between playful overindulgence and harmony.
I don’t see taste as an inhibitor, I think it’s really important to be challenged as an artist and to buy other artists work. It enables a broader perspective and helps us to apply them to our own practice.

WITH 2023 UPON US. WHAT DOES THE FUTURE HOLD FOR YOUR NEXT MOVE AS AN ARTIST?

I’m taking part in a group show at Carl Freeman Gallery during the Spring. I’m also exploring the potential of holding a sale at some point this year. Overall, I’d like to continue to make work especially as I’m finding it to be a therapeutic process in connecting with my Diaspora community, its important to me to feel a sense of fulfilment and unity. I also plan on continuing the explore my practice on larger scales while experimenting with new mediums.