Guillaume Sardin, a French artist and architect, first arrived in Kigali in 2010 as a lecturer at what was then KIST, now the University of Rwanda's College of Science and Technology. Tasked with teaching architecture, his initial academic role evolved into a profound exploration of Rwanda's rich history, oral traditions, and unique visual culture. This experience deeply questioned his artistic purpose, prompting him to develop a curriculum centered specifically on Rwanda, leading him to research local history, culture, and intellectual traditions. He taught for four years before returning to France to work as an architect.

Since the Covid-19 pandemic, Sardin has fully dedicated himself to his art career, working with luxury brands while maintaining a personal artistic practice that skillfully blends old and new narratives. He firmly believes in the power of diverse storytelling to foster a more sustainable world, embracing complexity and density in his work. His research into Rwanda's context began swiftly upon his arrival, driven by a desire to make his teaching relevant to his students. He immersed himself in the works of scholars like Alexis Kagame and Édouard Gasarabwe, integrating Rwandan knowledge into the architecture curriculum. He emphasizes the importance of humility and active listening when encountering unfamiliar cultures, which was crucial for him to understand local building practices, the enduring power of traditions, and their contemporary influence in Rwanda.

Among his most recognizable recent works connected to Rwanda are a large-scale painted triptych and a series of painted Inkongoro, traditional Rwandan milk pots. Sardin's artistic philosophy is heavily influenced by Édouard Glissant's theory of creolization, which posits that cultures are interconnected and in constant flux, influencing one another. This perspective allows him to integrate global stories respectfully into shared narratives, as demonstrated by a project in Normandy where African deities were incorporated at the base of a temporary triumphal arch around a statue of a French king, an approach he views as incorporation rather than appropriation.

Navigating Rwanda's largely oral history, Sardin, as an artist, embraces the role of an "unreliable narrator." He is interested in mythography—the study of myths—which he sees not as falsehoods but as powerful revelations of what people believed and valued. He asserts that artists should provoke questions rather than offer definitive answers. His choice of the Nyagakecuru story for a flagship project was due to its symbolic richness, visual potential, and its focus on a woman. Recognizing the deep cultural significance of milk pots, he meticulously consulted cultural leaders and institutions before embarking on his painted Inkongoro series, using only newly commissioned pots to ensure respect for tradition and avoid tampering with antique or functional ones.

Sardin's art aims to be a conversation for everyone. While some of his pieces are housed in Rwandan collections, including the Rwanda National Art Museum, others are located in Paris, catering to European collectors of African art. He acknowledges the inherent tension between public exhibition and private collection. The reception of the milk pot project has been largely positive, particularly among collectors who value cross-cultural dialogue. His decision to incorporate Greek influences into the milk pots stems from observing structural similarities between Greek vases—foundational to Western art—and Rwandan milk pots, exploring the visual narrative at this intersection.

Addressing concerns about cultural appropriation, Sardin clarifies that his practice involves borrowing, honoring, and citing sources, not claiming ownership of stories that are not his. He emphasizes that his contribution lies in his interpretation. He challenges the narrow 19th-century Western definition of art that might overlook Rwanda's rich artistic traditions, asserting that Rwandan craftsmanship—encompassing poetry, dance, weaving, milk pots, architecture, and royal design—is indeed art, characterized by subtlety, precision, and perfectionism. He encourages young Rwandan artists to be observant, study craftsmanship, learn continuously, and embrace experimentation. Sardin is currently researching another Rwanda-centered story and exploring collaborations with local craftspersons, aiming to continue working around narrative and Rwanda's subtle aesthetic. His ultimate message is that art should always create a space for debate and exchange of stories, inviting questions about perspective and challenging certainty rather than providing definitive truths.