Marcel Pinas (1971, Pelgrimkondre, Suriname) is a Surinamese visual artist of Ndyuka Maroon descent. His work focuses on preserving and making visible Maroon culture, guided by the leitmotif ‘Kibri a kulturu’ (Cherish the culture).

Pinas studied at the Nola Hatterman Institute in Paramaribo, continued his education at the Edna Manley College of Visual and Performing Arts in Jamaica, and later at the Rijksakademie van beeldende kunsten in Amsterdam. His extensive body of work includes paintings, installations, and sculptures in which he incorporates traditional Maroon elements, such as pangi fabrics and everyday objects like matapis and kokolamps. Like Joseph Beuys, Pinas brings together objects, people, and ideas to explore the potential of art. His work highlights themes such as memory, cultural identity, and community empowerment.

A recurring element in his work is the Afaka script. This syllabic writing system was developed in the early 19th century by Afáka Atumisi, a Ndyuka Maroon, as a means to record his own language. With about 56 characters, Afaka is a rare example of a self-developed script within a non-Western culture. Although it has largely fallen into disuse, Pinas employs it as a powerful symbol of cultural identity and creativity. For him, Afaka represents not only language, but also the autonomy, resilience, and spiritual richness of his ancestors. By integrating the characters into his art, he calls for a renewed appreciation of non-Western knowledge systems and emphasizes the importance of keeping intangible heritage alive.

Pinas also encourages others to engage with culture actively. With this socially engaged aspect of his practice and a strong sense of dedication, he founded the Tembe Art Studio (TAS) and the Contemporary Art Museum Moengo (CAMM) in Moengo. Here, he brings together nationally and internationally active artists with the local community — particularly young people — with the aim of fostering creative development and cultural exchange. These large-scale projects show great ambition and are unique in their approach. The Moengo Festival, featuring music, theatre, and visual arts, also plays a special role in strengthening community spirit and attracts many visitors from outside the region.

Pinas receives wide international recognition. He has exhibited at the Stedelijk Museum Amsterdam, the Tropenmuseum (Amsterdam), the Havana Biennial (Cuba), the Bienal das Amazônias (Brazil), and the Brooklyn Museum (New York), among others. His work is included in various international collections, including those of the Stedelijk Museum and the World Bank Art Program. In 2010, he was named a Young Global Leader by the World Economic Forum.


Marcel Pinas on the painting Afaka Kondee, 2025 ‘Afaka Kondee is a series of works centered around the Afaka script, in which the characters are sometimes combined with traditional tembe motifs. In this painting, created especially for the Open Paviljoen 2025, a tembe symbol takes center stage. The black-and-white sign, often found above doorways in Surinamese Maroon villages, symbolizes protection, blessing, or recognition. It marks, in a sense, the threshold into the world of Afaka Kondee.

How creative our ancestors were, living for centuries in the forest and developing a rich and layered culture within it. Their knowledge and insights remain deeply relevant today, especially when it comes to the care and preservation of our world. The Afaka script is one of the remarkable achievements of these early predecessors. Under extremely difficult circumstances, they created this syllabic writing system, an accomplishment we can are very proud of. It also sharply contrasts with the narratives many of us encountered in school.

The symbols in this work are applied intuitively, without forming a concrete text. The colors I use are inspired by memories of my childhood: moments and cultural ceremonies such as puu pikien adoo, gi pangi, towe nyannyan, and puu baaka. These moments carry deep meaning, which I aim to express through color, form, and rhythm.’