{"id":249656,"date":"2025-02-04T10:01:41","date_gmt":"2025-02-04T15:01:41","guid":{"rendered":"https:\/\/interiordesign.net\/?post_type=id_news&p=249656"},"modified":"2025-02-04T10:01:48","modified_gmt":"2025-02-04T15:01:48","slug":"10-questions-with-abdoulaye-konate","status":"publish","type":"id_news","link":"https:\/\/interiordesign.net\/designwire\/10-questions-with-abdoulaye-konate\/","title":{"rendered":"10 Questions With\u2026 Textile Artist Abdoulaye Konat\u00e9"},"content":{"rendered":"\n
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Installation view of Source de lumi\u00e8re (Soleil) Motif d\u2019Arabie sur Fond Ocr.<\/em> 2024. Textile. 900 cm x 301 cm.\nImage courtesy of Efie Gallery and Moz Photography.<\/figcaption><\/figure>\n\n\n\n
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February 4, 2025<\/p>\n\n\n

Words: <\/span>Ugonna-Ora Owoh<\/a><\/p>\n<\/div>\n\n\n\n

10 Questions With\u2026 Textile Artist Abdoulaye Konat\u00e9<\/h1>\n\n\n
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A gaze at Abdoulaye Konat\u00e9<\/a>\u2019s work hints at his background and influences, inviting deep curiosity. Regarded as one of the most important figures in West Africa’s Malian creative scene, Konat\u00e9 built a career that has spanned roughly four decades and continues to live on. Beyond his artistry, his leadership roles include his 1998 service as the director of the Palais de la Culture Amadou Hampat\u00e9 Ba in Bamako, Mali, and his current role as principal of the Conservatoire des Arts et M\u00e9tiers Multim\u00e9dia Balla Fasseke Kouyat\u00e9. <\/p>\n\n\n\n

But in true essence, he is an artist who is renowned for his large-scale textile-based installations using woven and dyed fabrics. His works are elaborate, often residing between abstraction and figurations while possessing a refined message. At the same time, Konat\u00e9 is also an activist, and he uses his art as a gateway to confront the numerous challenges that affect not just Mali but also the world at large. He has spoken about the AIDS crisis, challenged the socio-political issues across the African continent, and consistently shares stories from other cultures across the globe.<\/p>\n\n\n\n

Konat\u00e9\u2019s most recent project is a 9-meter textile work titled Sambadio<\/em>, which was inspired by \u201cSambadio,\u201d the final track of Malian musician Ali Farka Tour\u00e9\u2019s 1976 album. The song tells the story of farmers, celebrating a father\u2019s plea to his son to honor the earth. This monumental work serves as a connection between West African and Middle Eastern cultures and was recently showcased at the Efi\u025b Gallery in Dubai. Interior Design<\/em> had a chat with the Malian textile artist on his decades-long career, activism through textile design, and recent exhibition at the Efi\u025b Gallery<\/a>.<\/p>\n<\/div>\n\n\n\n

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Abdoulaye Konate\u0301. Photography courtesy of artist and Efi\u025b Gallery.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

How Abdoulaye Konat\u00e9 Weaves Activism Into Textile Masterpieces<\/h2>\n\n\n\n
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Abdoulaye Konat\u00e9 working on Source de lumi\u00e8re (Soleil) Motif d\u2019Arabie sur Fond Ocr.<\/em> Photography courtesy of Efi\u025b Gallery and Moz Photography.<\/figcaption><\/figure>\n\n\n\n

Interior Design: Describe your journey as a textile artist over the years.<\/h3>\n\n\n\n

Abdoulaye Konat\u00e9: I started using textiles in the 1990s, when I began working primarily on installations. It was during this time that I started incorporating many different materials, and gradually, textiles began to play a larger role in my work. Over time, I focused more on textiles. I still work with acrylics, make models, and continue sketching, but now my main focus is on textiles.<\/p>\n\n\n\n

ID: Your work seems to hover between abstraction and figuration. How do you approach each theme for a specific project?\u00a0<\/h3>\n\n\n\n

AK: I always try to adapt my technique depending on the theme. If it\u2019s figurative, I think about the most suitable method to express the subject. My approach is grounded in my studies, where I consider whether the message should be conveyed in an aesthetic context or a more social one. Based on this, I decide whether to use figuration or just work with color gradients.<\/p>\n\n\n\n

ID: Would you share your experience growing up in Mali?\u00a0<\/h3>\n\n\n\n

AK: My journey began with a love for drawing, and I was fortunate to have a neighbor who was a self-taught painter named Boubacar Koita. I grew up in a village in the Sahel region of Mali, by the river, and at school, we were always among the top students in drawing. We enjoyed sketching cinema posters and designing patterns for traditional weavers. We were also fortunate to have teachers who had graduated from the National Institute of Arts, and they passed on important technical skills and values. This allowed us to gradually develop our passion for the arts. Later, I attended the National Institute of Arts in Bamako and then worked at the National Museum of Mali. Afterwards, I went to Havana, Cuba, to pursue higher studies in fine arts.<\/p>\n\n\n\n

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Installation view of Motif Touareg sur fond bleu du Sahel et du Sahara<\/em>. 2024. textile. 400 cm x 251 cm. Image courtesy of Efi\u025b Gallery and Moz Photography.<\/figcaption><\/figure>\n\n\n\n

ID: Have you explored other mediums aside textile?<\/h3>\n\n\n\n

AK: Yes, I\u2019ve worked with oil painting, acrylics, engraving tools, lithography, screen printing, and some sculpture work, like most students who study fine arts. We also learned mosaic techniques for large monuments, and I created models that were later reproduced as ceramics. One of these models is a 12m x 2m (39 ft x 6 ft) piece that now resides in the metro in Portugal. I\u2019ve experimented with many artistic techniques, but it wasn\u2019t until the 1990s that I began to focus on textiles.<\/p>\n\n\n\n

ID: Color and texture are important elements of your work. Is that a conscious decision or are you driven by whatever idea your thoughts deem fit?<\/h3>\n\n\n\n

AK: I\u2019ve always loved color. When I worked with airbrush techniques, I would sometimes mix up to 200 color shades, using the airbrush to spray and work on nightscapes or desert landscapes. I also studied color in insects, particularly butterflies, and the way a chameleon can change its colors to blend into its environment. The variety of colors that these creatures exhibit is truly impressive, and it has influenced my work.<\/p>\n\n\n\n

ID: Your latest work at Efi\u025b Gallery in Dubai was inspired by a song. How did that become a source of inspiration for you?<\/h3>\n\n\n\n

AK: For the Efi\u025b Gallery exhibition, you\u2019ll recall that the title is inspired by Ali Farka Tour\u00e9\u2019s song \u201cSambadio,\u201d which is about labor and the earth. This 9-meter canvas is like a depiction of a sunrise or sunset, recalling nature and its beauty, but also the idea of labor as expressed in the song. This connection to the land and the work it symbolizes was what inspired the large scale of the piece for the exhibition. Additionally, this exhibition marks my representation by Efi\u025b Gallery; it was my first presentation in the Middle East, a region I am particularly interested in exploring. It offers a chance to link its rich history and culture with my artistic journey. In this exhibition, I have incorporated symbols and motifs that are native to the region, specifically those of the nomadic Arabs and their Bedouin culture. This exploration feels natural to me, as I come from the Sahel, where we have been shaped by a unique blend of Western, Arab, and African cultural influences.<\/p>\n\n\n\n

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Installation view of Source de lumi\u00e8re (Soleil) Motif d\u2019Arabie sur Fond Ocr.<\/em> 2024. Textile. 900 cm x 301 cm.\nImage courtesy of Efi\u025b Gallery and Moz Photography.<\/figcaption><\/figure>\n\n\n\n

ID: One significant attributes of your works is its large scale nature, do you often worry that the scaling won\u2019t be perfect?<\/h3>\n\n\n\n

AK: Often, the scale of the work isn\u2019t immediately apparent, but when I focus on the theme, I think about the size of the piece. I don\u2019t necessarily think about where it will be displayed, whether in a home or other venue. Instead, I think about the space I\u2019m creating to express myself fully and make sure the message reaches the viewers with the necessary impact.<\/p>\n\n\n\n

ID: By using textile as a medium, are you also keen to make political commentary or explore other social issues that affect your community?\u00a0<\/h3>\n\n\n\n

AK: It\u2019s not just about my community\u2014it\u2019s about global issues. With textile as a medium, I primarily address societal issues, like war, disease, religion, and political strife, with a secondary focus on aesthetic exploration. For my current exhibition at Efi\u025b Gallery, the works in the series are influenced by the theme of light\u2014its spiritual, religious, and geographical aspects. The pieces are inspired by sunsets, sunrises, and twilight, reflecting my interest in exploring light and its sources, such as the sun, stars, and the moon, along with its powers of veiling and unveiling.<\/p>\n\n\n\n

ID: In what ways are you inspired by stories from other cultures and traditions?<\/h3>\n\n\n\n

AK: I draw inspiration from all ancient cultures, particularly those that address human themes: tolerance, beauty, religion\u2014cultures that elevate the human soul. These universal themes transcend borders and resonate deeply in my work. My series at Efi\u025b Gallery focused primarily on the relationship that communities have with the earth, especially in regions like Africa and the Middle East. These areas, with their harsh environments\u2014such as vast deserts\u2014require resilience, patience, tolerance, and commitment. This connection to the earth is a theme I sought to explore in every piece, with the 9-meter work as the central embodiment of this concept, emphasizing the profound strength and endurance that comes from this relationship.<\/p>\n\n\n\n

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Abdoulaye Konate\u0301 sits in front of his work. Photography courtesy of artist and Efi\u025b Gallery Horizontal.<\/figcaption><\/figure>\n\n\n\n

ID: Your career has spanned decades, and important memories have been made. What is your key advice to the new generation of young artists coming forth?<\/h3>\n\n\n\n

AK: My advice is to be patient first and foremost, to work hard, study, and conduct extensive research. Artistic work is essential for progress, and one must not rush or prioritize money over the work itself. It\u2019s crucial to focus on developing research and maintaining consistent effort in your practice.<\/p>\n\n\n\n

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Source de Lumi\u00e8re (hexagone) Motif d\u2019Arabie Sur Fond Rouge<\/em>, \n150 cm x 220 cm, 2024. Photography courtesy of Efi\u025b Gallery and Moz Photography. <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Maghreb Motif Sur Fond Bleu<\/em>. 2024. Textile. 161 cm x 119 cm. Photography courtesy of Efi\u025b Gallery and Moz Photography. <\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Motifs d\u2019Arabie Sur Fond de Gris<\/em>. 2024. Textile. 150 cm x 220 cm. Photography courtesy of Efi\u025b Gallery and Moz Photography. <\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n