What about it?
Angola is home to some of the oldest artworks in the world—prehistoric engravings and paintings that date back thousands of years. Found in the caves and rock shelters of Namibet, these symbols capture stories of survival, spirituality, and connection to the land. Yet, despite their importance, Angolan rock art remains little known, both inside and outside the country.
A key part of this project took place in Caraculo, Angola, a rock art site. On a field trip with local administrators and guides, I was able to see engravings and paintings up close.
The experience was both humbling and inspiring: shallow carvings fading on exposed rock, pigments still preserved inside caves, and stories carried forward by local knowledge. Documenting these symbols through sketches and notes, I began to imagine how their spirit could flow into contemporary practice. This fieldwork became the foundation for developing symbols, artworks, and a workshop that connect deep history with the creative possibilities of today.
Visting Caraculo
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Reaching Caraculo from the city center of Moçâmedes took about 1 hour and 15 minutes. From there, I joined local administrators who guided me to three separate sites, each requiring an additional 5–20 minutes’ drive between them. Even after arriving by car, reaching the rock art often meant short hikes of around five minutes and, at times, basic rock climbing. The terrain was not always easily accessible; in some areas, guides used machetes to clear newly grown acacia that had blocked the trails. The administrators emphasized their ongoing efforts to improve accessibility for future visitors, while also working to protect the sites from vandalism, as some engravings have already suffered damage.
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My visit to Caraculo was made possible by the provincial government of Namibe. After contacting them for an audience, and sharing my project, they provided contacts of administrators that supported and guided me throughout. They were also responsible for introducing em to as to locals that taught me more of what they knew of the art.
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This project is far from over. I hope to continue learning from the many existing symbols, creating new ones of my own, and hosting more workshops so that this visual language can grow. My aim is for it to contribute to the preservation of history and cultural heritage, while educating others and encouraging further research alongside my own.
As part of this continuation, I plan to visit more sites—there are 11 in Namibe, Angola. The next on my list is Tchitundo-Hulo, the largest of them all. It is particularly significant as it contains both paintings and engravings within the same site, and it is currently being proposed as a UNESCO World Heritage site.
In addition, I have been invited to use my developing visual language to design a book and pamphlets for the region of Caraculo, to be shared with tourists as preparations are made to open the site for cultural tourism. My current series of screenprints will also be exhibited at the opening of Cine Estúdio, a newly re-opened cultural event space in Namibe, in October 2025.