What Feels Most Natural to My Hand — Sunday Mpanduji in conversation with Khaya Ronkainen

Interview on behalf of Finnish-African Society

Photo credit: Anne Lappalainen

Photo credit: Anne Lappalainen

Sunday Mpanduji is an artist, graphic designer, and illustrator whose playful line art brings community and culture to life. His work invites children to see themselves, their families, and their dreams on the page. He illustrated the FALA Book Exhibition artwork, which was centered on the theme “Travel the Wealth of Africa Through Stories” and showcased at Oodi Library. He also brought Babalekoko, a character, to life in the children’s book titled: A Little Maasai Warrior. These are some examples of his artwork.

Where the Line Begins

Khaya Ronkainen: Your work is described as bringing community and culture to life on the page. Whose community, whose culture, are you drawing from?

Sunday Mpanduji: I have worked as a visual artist in Finland and Tanzania. My work represents both culture mentioned, but more of African culture.

KR: When did you first realize illustration could be a way to help children see themselves on the page?

SM: I realized this after working as an art teacher at the Center for Street Children in Tanzania, where I was training children how to draw. I realize illustration is a universal form of expression where it is easier for children to understand. As a child myself, I used to read a lot of comics; that could be another reason too.

KR: Your line work has such a playful, immediate quality. Was this a style you developed deliberately, or did it emerge from finding what felt most natural to your hand?

SM: I can say my style has been evolving time after time. It is more about what feels most natural to my hand. The tools I use also influence my art. When I began my artistic journey, limited access to digital tools meant I concentrated on traditional styles. As time went by and new tools became accessible, my style naturally developed and shifted to a different level.

Photo Credit: Sunday Mpanduji

KR: You illustrated A Little Maasai Warrior: Babalekoko, a specific character in the book from a specific culture. In what way did you balance the universal with authenticity in that world?

SM: Babalekoko is based on a Maasai young warrior. Since I come from Tanzania, I know enough about Maasai culture and their attributes. I also spent considerable time researching to ensure my topic would resonate with the audience. To enhance the accuracy of the outcome, I consulted many sources.

“For the audience to feel a connection to the character and the story, it is important to include moments of joy, tears, and hope.”

— On holding joy and truth together

KR: Children’s stories, especially ones about culture and identity, don’t need to shy away from harder truths. How do you think about holding joy and lightness in the line, while still leaving room for what’s real or difficult in a story?

SM: We understand that most children’s stories are fictional, but it doesn’t mean we refrain from narrating the less joyful parts. For the audience to feel a connection to the character and the story, it is important to include moments of joy, tears, and hope.

Photo Credit: Sunday Mpanduji

KR: Let’s talk about the illustration for FALA Book Exhibition at Oodi Library. “Travel the wealth of Africa through stories” is a broad and generous theme. How did you begin translating something that expansive into individual images that tell a cohesive story?

SM: As an artist, sometimes it can mean conceiving an idea and then overseeing the entire project independently. With the FALA’s Oodi illustration project, I collaborated in a team setting, receiving direction from the project manager while also contributing artistic suggestions. I just feel that working in a team usually creates beautiful results. 

The Artist, Whole

KR: What does your typical day look like? Or is there no such thing as “typical” in your practice?

SM: I really don’t have a typical day. At the moment, I do both making art and work at the logistics terminal, so my days change quite a lot because of these factors. 

KR: Balancing art-making with other work, how do you protect your creative joy through the parts of this practice that are demanding or uncertain?

SM: I usually start my day with a morning run. This activity not only improves my physical fitness but also enhances my mental well-being; it feels good after completing a few kilometers. I also meditate now and then, or whenever I have a chance. 

The Stories Still to Come

KR: You’ve mentioned that your work invites children to see their families and dreams on the page. What happens, in your experience, when a child actually recognizes themselves in something you’ve drawn?

SM: Since that image or drawing is a universal language, people tend to translate according to their experience and perspective. Some are inspired by the drawing, while others gain new ideas from it. Different feelings arise from this experience. 

“Securing funding, though, is another story.”


— On what’s still to come

KR: What’s a story or community you haven’t illustrated yet but hope to?

SM: My mind has been buzzing with ideas for a fictional comic story that will unfold in the vibrant city of Helsinki. I’ve already created a few pages. Securing funding, though, is another story.

Discover more of Mpanduji’s work on Instagram: @sundaympanduji

Khaya Ronkainen is a South African poet, writer, and artist based in Finland. Her practice spans writing, photography, and the design of meaningful gatherings and experiences. Drawing from cross-cultural life, her work—across poetry, fiction, and creative nonfiction—often examines hybrid identity, home, and belonging. Her first novel, Distorted Is The View, was published in 2026.

Visit  khayaronkainen.fi