Ousmane Ndiaye Dago By David Jackman
| Sep 12, 2017
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Tonight at the Doree de Gala in Senegal, West Africa you sit in a lush dining area pa|mais
Tonight at the Doree de Gala in Senegal, West Africa you sit in a lush dining area packed with patrons. The house lights dim and a hush spread through the audience. A calm, ethereal musical score pipes up from the PA speakers. Two statuesque African women carrying large clay bowls above their heads step barefoot onto the lit stage with its dark cloth backdrop. They wear tie die wraps of pink and blue around their breasts and waists. They place the bowls at their feet and face the audience. You notice for the first time that their thick Rastafarian locks conceal their faces. They reach into the bowls and scoop up fistfuls of muddy gruel, applying the earthy soup to their own skin and to each others, turning their dark complexions into the color of wet clay
The artist admits to approaching his work with a slight air of naiveté while habitually remaining intuitive and very hands on. Each model is smeared with dry earth, mud, paint pigments, beads and other elements. All of this combines to create this remarkable ‘living sculpture’ aspect that’s as powerful as it is intoxicating. To quote an old proverb: “The eye does not see, it is the spirit that sees…”
Exhibitions: 1999 “Mese della Foto” or “Month of Photos” Mostra Fotografica di Cartagena in Spain.
2001 Biennale di Valencia, Galleria Galicia in Milan. Live exhibition of his work at the Porsche Company in Italy.
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