Louise Deininger Talks Art, Spirituality, and Creating Social Change

In this exclusive interview, Louise Deininger, a renowned contemporary conceptual artist, discusses her profound journey of purpose, healing, and social impact. Louise reflects on the evolution of her soul’s purpose, from her use of unconventional materials like elephant dung to her dedication to nurturing young talent through the GYCO initiative in Northern Uganda. She opens up about the challenges of balancing a thriving global career with her deep-rooted commitment to community upliftment, all while exploring art’s transformative power in addressing trauma, colonial scars, and the resilience of the human spirit.

FAB: In your previous interview, you mentioned that art became a channel through which you discovered your soul’s purpose. As your work has grown and reached more people, how has your understanding of that purpose evolved?

Louise Deininger: That’s a fascinating question, and one I haven’t really considered before. However, I feel that this purpose takes on many layers and channels as people interact with my work. The reactions I receive are varied, and they often inspire me.

Sometimes, people are drawn to my work simply for its aesthetics; however, as they delve deeper into understanding its meaning, they tend to fall even more in love with it. For me, the most important aspect of my work is the thoughts and emotions it provokes.

I aim to spark reflection on certain aspects of life and see what emotions arise from that contemplation.

FAB: Can you share a story where you witnessed a profound transformation in someone who encountered your work?

Louise Deininger: Sure. But before diving into that, let me provide some context about my art. I consider myself a conceptual artist in a contemporary sense, addressing themes like consciousness, spiritual science, metaphysics, and a range of other subject matters.

I express these ideas through a multi-disciplinary practice such as painting, sculpting, performance, film, collages, and object making. Furthermore, the materials I use also carry significant meaning. For instance, I work with elephant dung, which has a deep historical connection to my heritage. The elephant is the totem animal of my tribe, symbolising memory and intelligence—qualities my people value highly.

One of the most transformative experiences I’ve witnessed was in Northern Uganda and Rwanda while working on a film titled The DNA of War. My goal was to explore the impact of armed conflict on those directly or indirectly affected. I chose Northern Uganda because it holds a special place in my heart. Through my work there, it came to my attention that there was a need for positive mindset change for the youth of post-war Northern Uganda.

This realisation led to the founding of an organisation called GYCO in Gulu City, Uganda. Our vision then became to inspire positive mindset change in young people by nurturing their creative potential, allowing them to realise their full capabilities. In 2018, we established an arts and education centre as part of this effort.

One of our success stories involves a girls’ football club we initiated as part of our program, which went on to compete at the elite level, becoming the best in Northern Uganda. This achievement brought immense pride and fulfilment to the GYCO team and me both in Austria and Uganda.

Another remarkable transformation occurred with a talented young painter named Thomas Vava. We empowered and inspired him to pursue his craft seriously. Over the years, Thomas has grown immensely, going international with his art. He even gained admission to the Academy of Fine Arts University of Vienna, Austria. He is currently exhibiting alongside myself at Aux Gazelles’ Afriques. Seeing Thomas grow and positively impact others through his art is incredibly rewarding.

Similarly, we’ve supported a young entrepreneur, Ajura Fashion, who has taken the Northern Ugandan fashion scene by storm. These successes bring us tremendous joy and drive us to continue our work.

That said, I feel that we’re just beginning to scratch the surface. There’s still so much to be done, especially in terms of youth empowerment in the region.

FAB: That’s a wonderful story. How are the preparations going? I understand you have an exhibition next month and another in Kampala, Uganda, in November.

Louise Deininger: Oh, it’s been quite a journey since I completed my MFA at the Academy here in Vienna. I’ve been very busy with exhibitions, primarily in the USA and Austria. Next week, I have another exhibition in Serbia. I just recently completed a three-month residency program with BLAXtarlines at KNUST-Kwame Nkrumah University of Science and Technology, where I was deeply inspired after meeting remarkable artists like Ibrahim Mahama in his hometown of Tamale.

Since returning last month, I’ve been working intensely and completed the works for my upcoming solo exhibition in September with Michael Bella Gallery in Vienna, as well as for an art fair known as Parallel. After that, I shall be heading to Uganda to produce more works and prepare for a solo show with Xenson Gallery in Kampala.

Currently, I’m delving into a particularly compelling topic: About SCARS, focusing on more than just physical scars—and also exploring those that affect us emotionally and mentally, affecting our memories, including cellular memories. It goes further into the effects of enduring colonial scars and how this shapes the way we live on social, economic, and geopolitical levels. 

I’m also examining how global entities, like the IMF, the World Health Organisation, and the World Bank, influence politics in East Africa, often to the detriment of our people, especially the youth. This is closely connected to the ongoing movements in Kenya and Uganda, where people are advocating for good governance and fighting corruption. This theme is deeply tied to my current work.

How Louise Deininger Uses Art to Heal Trauma and Empower Future Generations

FAB: Let’s talk about your book, DNA of War. In it, you tackle complex and often painful subjects like war and trauma in a way that resonates with a diverse audience. What was the most challenging aspect of bringing DNA of War to life, especially when it came to hearing and processing those stories?

Louise Deininger: The most challenging part was dealing with the intense emotions that arise from our human capacity to inflict pain on one another. It took me a long time to make peace with that aspect of our nature—the contrast between our inherent potential for peace and love, and the extreme capacity for destruction. Coming to terms with that duality was incredibly difficult for me (burst into tears).

FAB: Let’s shift gears a bit. You mentioned Serbia earlier, and I’d like us to revisit that experience. You’ve noted that the seminar you attended in Serbia was pivotal in motivating you to start GYCO—did I pronounce that correctly?

Louise Deininger: Yes, that’s right. After completing the film and research, I was already contemplating doing something for young people. However, like many of us, I kept procrastinating, thinking, “I’ll get to it someday.” It was a goal of mine, part of the legacy I wanted to create, but I wasn’t sure how to begin.

Then I attended a seminar led by one of my mentors, the late Bob Procter. During the seminar, he introduced us to the concept of the “terror barrier.” He explained that magic happens right at the point where fear is at its highest—when you’re terrified of what might happen. The key is to push through that fear and find the courage to take action.

When I returned from the seminar, I finally gathered enough courage to seek support and start the organization. One of the first steps I took was to find a coach who provided the guidance and support I needed to turn my vision into reality and begin working with the youth in post-war Northern Uganda.

FAB: In this and previous interviews, you’ve consistently talked about procrastination. What advice would you give to those who feel a strong pull towards a new project and hesitate to take the leap?

Louise Deininger: My advice is simple: Just do it. That’s really all I can say. Even for me, where I am now, there are things I still put off, especially when they push me out of my comfort zone. But when I finally tackle them, they often turn out to be successful.

When I feel that fear, that terror, I push through and do it anyway. It’s about living outside of your comfort zone. Do the things that make you uncomfortable. Gather the courage and just do it. That’s when the magic happens.

FAB: You’ve also emphasised the importance of stepping out of your comfort zone. Could you share an instance where doing so profoundly impacted your life or work?

Louise Deininger: It happens all the time. For example, when I returned from Ghana, my studio was empty because everything had sold out during my last show in April.

When I came back, I walked into my studio, and the walls were bare, and I had two shows coming up. I was like, “God, what am I going to do?” So, I threw my suitcase down and got straight to work. Sometimes, I worked until 2 or 3 o’clock in the morning—every day, Monday to Monday.

There are those moments, around midnight, when your eyes start to close, and you think, “No, I can push through for another two or three hours.” And before you know it, it’s 3 AM. Then it’s like, “Oh my God, it’s time to go home.” You go home, crash, wake up, and do the same thing again.

It’s really about physically pushing yourself out of your comfort zone, even when it’s tough. And yes, it happens all the time.

FAB: You’ve spoken about the importance of self-leadership as a foundation for inspiring others. Given the complex challenges facing African leaders, how would you advise them to balance self-awareness with the demands of leadership? Often, when people think about African leaders, they wonder: Are they indifferent to the suffering of the common man? Are they so isolated from reality that they can’t see what’s happening around them?

Louise Deininger: That’s an intriguing question. It’s a topic I’ve thought about often, especially because I occasionally interact with politicians. I’ve even witnessed some leaders who genuinely seemed to have the people’s interests at heart when they first started. I supported them, believing that they were committed to building a legacy and making a positive difference in the lives of those they serve.

However, something seems to change when they get into power—especially in places like the Kenyan parliament. Various factors come into play, and one of the most significant is ego. Ego is insatiable; it always craves more validation and recognition.

There’s also the pressure to keep up appearances. When your peers are driving luxury cars, sending their children to prestigious schools, and enjoying the trappings of power, it’s easy to get swept up in that lifestyle. This often leads to living in a bubble, where leaders become increasingly disconnected from the electorate. Of course, there are exceptional ones like my mentor woman, Mp for Gulu City, Betty Aol Ochan.

In this bubble, according to me, they start building walls—both literally and figuratively—around themselves. Bodyguards, restricted access, and the distance created by power mean they are no longer in touch with the realities of the people they are supposed to serve. Their egos grow, and they lose sight of the struggles faced by ordinary citizens.

As a result, they may think, “If you’re suffering, why don’t you do something to change your situation?” without understanding the real challenges on the ground. It’s a complex and troubling situation, to say the least, and without judgement.

FAB: You’ve become an advocate for the African diaspora, urging them to reflect on their goals and aspirations. How do you suggest people stay connected to their roots while also pursuing global opportunities?

Louise Deininger: Well, this is something quite personal to me. I’ll use myself as an example. I come from a background where my mother was always a career woman, deeply involved in empowering people in the villages. She was a philanthropist and an activist in her own way, active in women’s organizations. That’s the environment I grew up in, and it shaped my commitment to building a legacy that empowers people from my country.

So, staying connected to my roots was a personal decision. This is the legacy I want to leave behind—empowering those who are less fortunate in Kenya and Uganda, where my roots are. Even though I’ve spent more time abroad than in Africa, I’ve never lost touch with where I come from.

When I see my people facing challenges, and I have an idea of a possible solution, I feel compelled to share it with them. And that sharing often involves personal development. As a trained coach, I have tools and frameworks that I use to support others. In our organisation, we train young people to do the same—empowering them to give back to their communities.

FAB: You wear so many hats—coach, author, artist, and, in my country, we’d probably call you an activist too. With so much on your plate, how do you balance your role as an artist with your responsibilities as a leader and philanthropist?

Louise Deininger: Well, art takes up about 80% if not a hundred percent of my time. Mhmm. In terms of what I do, I need to be in the studio to produce, right? I also have to attend residencies, which require my physical presence. Mhmm. But I don’t manage everything alone—I have a wonderful team supporting me.

FAB: Oh, nice.

Louise Deininger: Yeah, I’m fortunate to have a great team here in Austria, including a board of directors and an advisory team. My husband also plays a pivotal role in everything I do. In Uganda, I have another fantastic team. Apart from our staff, there’s also a committed board of directors who contribute immensely. Mhmm.

So really, it’s only possible through collective effort and collaboration. There’s no way to manage it all on your own. Actually, I delegate a lot—some might even say I’m a bit lazy. But that’s why I emphasise the importance of stepping out of your comfort zone.

FAB: You’re doing all of this to give back to the community, which is very profound. But some might ask: What is the relationship between art and healing? Does such a connection even exist? What healing power does art hold, particularly in the context of your work, where you’re committed to helping people recover from trauma?

Louise Deininger: Oh my God, that’s an excellent question.

For me, art is like… well, I consider we artists to be shamans. We spend a lot of time in solitude, doing extensive research, and going beyond what is seen. There’s also a significant practice involved. Every morning, the first thing I do is meditate. It’s about tapping into that unknown space.

When I touch the brush, whatever I put on the canvas comes from this unknown space. When someone encounters the artwork, they can experience healing. Let me share a real-life story. Just before I went to Ghana at the end of March, I created a piece of art that reflects what we do at GYCO—letting go, forgiveness, and acceptance.

I made a ball out of elephant dung, symbolising the concept of letting go. The piece is titled Cutting of the Cord. Imagine placing all your problems into this ball, making them as large as possible. You then visualise shrinking it and tying the ball with a rope around your waist, standing on top of a hill with a pair of scissors or a knife in hand. Cut the rope and watch the ball roll down the hill. You even burn the remainder of the rope with an imaginary knife to ensure nothing remains tied to your body or mind.

I made 23 pieces of these small balls, and one was on sale at an art fair. A man approached, intrigued by the piece, despite its unconventional appearance. When I explained the concept to him, he immediately decided to buy it.

Just before I left for Ghana, he called to tell me how much he was enjoying the piece. Unfortunately, I couldn’t visit him due to my tight schedule, but I promised to see him after I returned. A few weeks later, I received another text from a close friend of his who was with him at the time since he was wheelchair bound, telling me how much M. appreciated the piece and how it was helping him heal. Then she told me that M. was dying, and I was shocked. He only had a few days left, and she mentioned that he found solace in the artwork because it spoke to him about letting go.

This is just one example of how art can be a healing force. Who would have thought that a simple piece of art—a ball out of elephant dung with a rope—could channel such healing to the human body, mind, and soul?

FAB: When you sit down by yourself, what do you hope future generations will remember about your contributions to art and society? In other words, what legacy do you hope to leave behind? When someone mentions your name 50 or 100 years from now, what do you hope they’ll say?

Louise Deininger: That’s an interesting question. The other day, I was having a conversation with my husband, and I told him, “When I get to where I want to go, my dream is to create art hubs in Northern Uganda where kids can come, experience, and enjoy art, and hopefully be inspired to become artists themselves.”

To narrow it down, I hope people will remember me as someone who positively impacted their lives just by being here. But if they don’t, that’s okay too. As long as I touched someone’s life, that’s enough for me.

Fashion, Beauty, and Lifestyle with Louise Deininger

FAB: What are your must-have skincare products?

Louise Deininger: My must-have skincare products? A good facial lotion, for sure. Believe it or not, I grew up using Vaseline on my skin. I actually used to be a makeup artist, so I have a morning routine that’s a must. Aside from my meditation, I always apply my makeup—foundation, powder, mascara, and eyeliner—every morning.

FAB: What are your wardrobe essentials that you can’t do without?

Louise Deininger: Shoes, definitely! But not just any shoes—I’m talking about ones with interesting designs, something that gives off an urban look. And I absolutely love my African prints. When I was in Ghana, I made sure to get plenty of African prints. They’re my number one go-to. Comfortable pants, a nice top, and a sleek or expensive handbag when I’m going out are also essentials. A statement bag really says something about you, you know?

FAB: You work tirelessly, travelling all around the world—to the US, Ghana, Serbia, Austria, and more. So I have to ask, How do you pamper yourself?

Louise Deininger: I try very hard to eat healthy since I don’t have much time for exercise. Speaking of procrastination, I’ve been putting off exercising for a while now. I used to walk for an hour every day, and I think I need to get back to that. But yes, eating healthy is very important to me. Actually, when I am back home in Africa, regular visits to the hairdresser are a must, pedicures and manicures included.

Fun Zone: #FABFastFive

FAB: What’s the most beautiful place you have ever seen in person or you have ever been to?

Louise Deininger: Gulu City

FAB: If you were a superhero, what powers would you want to have?

Louise Deininger: Magical powers

FAB: If you could relive any decade of your life, which one would you redo?

Louise Deininger: 25

FAB: If you only had 5 minutes in a grocery store, what would you buy?

Louise Deininger: Carrots

FAB: Then lastly, what’s your favourite soup?

Louise Deininger: Vegetable Soup