COUNTRY IN FOCUS: Sierra Leone

A Renaissance in Colour: Sierra Leone’s Art Scene, Reimagined

Walk through Freetown on a breezy afternoon and you might spot it, a batik curtain dancing in the wind, hanging from the window of a colonial house that’s seen better days. It’s not a gallery, but it might as well be. In Sierra Leone, art doesn’t wait for permission. It shows up where it wants to be, on walls, in courtyards, across glass, and sometimes, in the middle of a street.

There’s no national fine art school here. No formal pipeline. Artists teach themselves, learn abroad, or pick up skills from neighbours. The result? A scene that’s wild, surprising, and impossible to pin down. It’s not curated; it’s lived. From Mende (one of Sierra Leone’s largest ethnic groups) textile motifs to Krio (descendants of freed slaves) architectural storytelling, Sierra Leone’s visual language is rooted in heritage—but never stuck in it. It’s a remix—a reimagining.

A piece by John Francis, 'Bod Ose (Wooden House)', A painting depicting a typical Creole house in its dilapidated state.

Before the war, Sierra Leone’s art scene was shaped by figures like Christian Cole, the first West African to study at Oxford, whose cultural scholarship laid early foundations for artistic thought. Alusine Bangura preserved Mende and Temne traditions through intricate handwoven designs, while Sylvanus F. Morseray painted village life with quiet precision; his brushwork is a kind of storytelling. 

After the war, artists like Patrick Tagoe-Turkson, Fatmata Jalloh, Mohamed Kargbo, and Isatu Sesay began turning trauma into texture. Their work didn’t just reflect history—it wrestled with it.

A Mural by Freetown Street Art, advocating against corruption, at Congo Cross in Freetown

Murals bloomed across Freetown. Not decoration—declaration. They reclaim space, express grief, and imagine futures. From Hillcut Road to Congo Cross, Lumley to Aberdeen, walls became canvases for healing and hope. Street art in Sierra Leone is not a trend. It’s a tradition reborn.

Artistic Fusion: Remixing the Past

Today’s artists are remixing the past with boldness. Mende and Temne textile patterns show up in digital collages. Krio balconies reappear in batik. Oral history pulses through mixed media installations. This isn’t mimicry—it’s mastery.

Julius Parker, aka Choema, doesn’t just paint—he archives. His batik scenes of Freetown’s colonial houses are tactile memories. Architecture becomes biography. The wax-resist dyeing technique he uses isn’t just aesthetic—it’s ancestral. His work blends history, place, and emotion into something quietly powerful.

Batik art by Julius Parker, 'Stone Building', 2022

Hickmatu Leigh’s black-and-white portraits of Sierra Leonean women are meditations on silence and strength. Her lens interrogates and uplifts. Now she’s moved into film, chasing movement with the same intimacy. Her shift across media reflects the fluidity of Sierra Leone’s art scene—where artists move between formats as naturally as they breathe.

A piece by Hickmatu Leigh, titled 'Sacred', 2023

Ranya Nirvan paints on glass. The only one in Sierra Leone who does. Her stained-glass triptychs explore solitude, self-worth, and spiritual resilience. Inspired by her time in India and her own displacement, her work is quiet but unmissable. It glows with introspection; bright colours, divine symbolism, and a deeply personal touch. Inspired by her own displacement and cultural pride.

A piece by Ranya S. Nirvan, 'Untitled', 2022

John Francis began painting during his years as a refugee during Sierra Leone’s civil conflict, finding expression through watercolour impressionism. His work spans figurative and townscape paintings, with acrylics as a second medium, where he explores abstraction. The renowned Sierra Leonean artist Hassan Bangura shaped his path, and Sierra Leone’s pre-independence architecture—especially the Creole houses—continues to fascinate and influence his work. 

John Francis, 'Pademba Road'. A piece that depicts an old Creole house, from the colonial days, on a popular and historically significant road that leads to the city center in Freetown.

Wizik, also known as Ibrahim Hamid Koroma, had no film mentors. He made a short anyway. It’s about youth, loss, and imagination. His journey reflects a broader truth: Sierra Leonean artists move fluidly between media, driven by story rather than format. There’s no map—just momentum.

Sarah, unx-art curator, with Wizik at his film, "San San" debut, 2025.

Collectives & Platform

Sierra Leone’s art scene isn’t built on institutions—it’s built on collectives. The Barray is a hub for performance, visual art, and storytelling. Reunion Freetown, curated by Mabel Ironnsky Sesay, centers Sierra Leonean identity through exhibitions and residencies. Kompin Artists, founded in 2024 and now led by Ranya S. Nirvan, a collective of visionary artists dedicated to exploring and expressing creativity through diverse mediums and unique perspectives. These platforms aren’t just showcasing work—they’re shaping the ecosystem.

A Renaissance, Reimagined

Sierra Leone’s art isn’t bound by legacy—it’s propelled by curiosity. It’s not just resilient—it’s refreshing. It’s not just recovering—it’s reinventing.

This is a renaissance in colour, in texture, in voice. And it’s just getting started.

Discover the resurgence of Sierra Leonean art—meet the artists and explore their stories. Join the conversation on Facebook and Instagram!