Today we’d like to introduce you to Banko St-Leger.
Hi Banko, we’re thrilled to have a chance to learn your story today. So, before we get into specifics, maybe you can briefly walk us through how you got to where you are today?
I started making art as a way to understand identity, culture, and the spaces between people. Growing up in a multicultural environment with a Puerto Rican mother and a Haitian father, I was always aware of how different backgrounds shape the way we see the world. That awareness naturally found its way into my work. Early on, I began using contrasting figures—often black and white characters, to explore themes of race, relationships, and the quiet tensions or connections that exist between cultures.
Over time, what began as a personal exploration grew into a broader artistic practice. My work became less about simply representing difference and more about creating conversations around inclusion, perception, and shared humanity. I’ve had the chance to exhibit my work in different spaces and also curate shows that highlight voices and stories that aren’t always centered in traditional art spaces.
My most recent exhibition, “The Last Offering” (2025), marked an important turning point for me. After that show, I spent the last eight months traveling through Europe, the Middle East, and North Africa particularly Morocco. That time on the road was less about exhibiting and more about absorbing new textures, histories, and emotional landscapes. Travel has a way of reshaping how you see both the world and your own work.
I’ve recently landed in Mexico City, where I’m taking a slower approach for a moment, letting the mix of movement, reflection, and new surroundings influence what comes next. Right now feels like a transition point: a change of pace, a shift in energy, and the beginning of the next chapter in my practice.
I’m sure it wasn’t obstacle-free, but would you say the journey has been fairly smooth so far?
It definitely hasn’t been a completely smooth road. Like many artists, a big part of the journey has been navigating uncertainty, financially, creatively, and personally. Early on there were moments of questioning whether the work would find an audience or if I could sustain a life built around art. There’s a lot of invisible labor in this field: organizing shows, building relationships, funding projects, and continuing to create even when recognition or resources are limited.
Another challenge has been staying true to the themes I explore in my work. Conversations around race, identity, and cultural tension can sometimes make people uncomfortable, and not every space is open to that dialogue. But those moments also reinforced why the work matters to me in the first place.
The pace of the art world can also be intense. Preparing for exhibitions, including my most recent show “The Last Offering” in 2025, required a lot of emotional and creative energy. After that exhibition, I spent about eight months traveling through Europe, the Middle East, and North Africa, especially Morocco. That time was both inspiring and challenging. Being constantly on the move pushes you out of your routine and forces you to rethink how you create and where you belong.
Now being in Mexico City, I’m allowing myself a different rhythm. The journey hasn’t always been easy, but those moments of struggle, uncertainty, and movement have shaped both the work and the person I am today. In many ways, the challenges have been just as important as the successes.
Can you tell our readers more about what you do and what you think sets you apart from others?
My work centers around painting and visual storytelling that explores race, identity, and the emotional space between cultures. I often use simplified figures frequently contrasting black and white characters, to create visual conversations about difference, connection, and perception. The work isn’t meant to give answers as much as it is meant to create a moment of reflection for the viewer. I’m interested in how people project meaning onto these characters and how that reveals something about the way we see each other.
Over time, my practice has also expanded beyond just making paintings. I’ve curated exhibitions and collaborated with different creative communities, which has allowed me to help create platforms for conversations around culture, belonging, and representation.
What I’m probably most known for is the symbolic simplicity of my figures paired with layered social meaning. At first glance the work can feel minimal or quiet, but the tension between the characters often holds deeper emotional or cultural narratives. I try to leave enough space in the work so viewers can bring their own experiences into the piece.
One of the things I’m most proud of is my recent exhibition “The Last Offering” (2025). That show felt like a culmination of a certain chapter of my practice. After it, I stepped away from the usual pace of exhibiting and spent the last eight months traveling through Europe, the Middle East, and North Africa—especially Morocco. That period of movement and observation has been shaping how I’m thinking about the next phase of my work.
What sets my work apart, I think, is the way it sits between cultures and perspectives. My background and experiences have always existed in multiple spaces at once, and the work reflects that. Rather than speaking from one fixed viewpoint, I’m interested in creating images that hold tension, duality, and empathy at the same time.
At the core, my goal is simple: to create work that invites people to pause, question their assumptions, and maybe see each other a little differently.
Do you have recommendations for books, apps, blogs, etc?
A lot of my inspiration actually comes from observing the world rather than constantly consuming media. Traveling, being in new environments, and simply watching how people interact in everyday life tends to shape my work more than anything else.
That said, I do gravitate toward resources that explore the mind and human perception, probably because my academic background includes studying psychology. I’m fascinated by how people think, how identity forms, and how perception shapes the way we experience each other and the world.
I often listen to lectures and talks from Alan Watts, whose way of discussing consciousness, identity, and the nature of reality has always resonated with me. His ideas about the illusion of separation between people and the world connect deeply with the themes I explore in my work—especially around identity and shared humanity.
Beyond that, I’m generally drawn to anything related to psychology, philosophy, and conversations about awareness and perception. Those ideas often find their way into my paintings, even if they’re not directly referenced.
More recently, though, one of the biggest influences has simply been movement and travel. Over the last eight months I’ve been moving through Europe, the Middle East, and North Africa before landing in Mexico City. Being exposed to different cultures and emotional landscapes has been its own kind of education, and that shift in perspective often becomes the starting point for new work.
Pricing:
- Original canvas paintings start at $3,000+ depending on size and complexity.
- Hand-painted maps start at $500+ depending on scale and detail.
- Limited edition prints range from $50 – $600 depending on size and edition.
- Commissions and custom works are available on a limited basis and priced based on concept and dimensions.
- For collector, gallery, or commission inquiries, pricing and availability are discussed directly upon request.
Contact Info:
- Website: https://www.chair-py.com/
- Instagram: Bankouzumaki
