Abdoulaye Konaté: Speaking Through Textiles

By Laura Heyrman

The Malian artist Abdoulaye Konaté (b. 1953) is an internationally honored and globally exhibited artist whose focus has been on working with fabrics for almost 30 years. Originally trained in painting at the Institut National des Arts of Mali, Konaté became interested in other media while studying at the Instituto Superior de Arte in Havana, Cuba. His early works on paper featured Malian cosmological symbols and he also created fabric installations related to Malian art, music, and hunter societies. These themes appear in his art throughout his career but in the 1990s, Konaté switched to using fabric as his primary mode of expression. The artist said

“The decision to focus on fabric comes from the desire to use materials produced in my own country, to work from elements that are closest to me. In Mali we produce a lot of cotton and therefore there is a wide availability of this material for artists. Not to mention that it is particularly suitable for the creation of large-scale works.”

And large scale they are. Works Konaté describes as “small” are usually more than five feet in at least one direction. Of the examples I have included in the slide show, the largest is “Biometric Generation” which is over 20 feet wide. Such large works surround the viewer with an environment of color and texture.

In opting for textiles, Konaté continues a West African tradition of using clothing for communication and commemoration. In Bamako (Mali’s capital), the artist and his assistants dye fabric using traditional methods; tie-dyed and metallic finished fabrics are Malian techniques. Since 2020 when he was producing an exhibition of his work for Accra in Ghana, Konaté has also incorporated the traditional Ghanaian kente cloth in some of his works. Once the fabrics are chosen, they are cut and sewn according to the artist’s designs. His most common technique involves sewing the fabrics into ribbons which are then layered and sewn together. The ribbons are like brushstrokes creating color patterns and rhythms that enliven the surface. Additional elements, including the artist’s signature, are embroidered onto the work. (A photo of the artist at work is included in the slide show.)

The fluttery ribbon-covered surfaces of Konaté’s works are inspired by West African ritual garments, including Senufo ceremonial cloaks and the Malian secret society of Kôrêdugaw, who perform a rite of wisdom in which initiates dress in ragged coats and provoke laughter through exaggerated foolish behaviors. Members of this group are also teachers of the young, passing on cultural traditions, symbolizing generosity, tolerance, and advocating for others. These are all concerns which Konaté addresses in his art.

Color is of great importance in Konaté’s works. Though the choice and arrangement of colors may sometimes be made for abstract design purposes, in many works color has symbolic meaning in addition to its aesthetic purpose. Perhaps the most common color in Konaté’s works is indigo blue, a color which is symbolic of Mali, the artist’s birthplace and still his home. Other possible symbolic meanings for his colors are red for violence, white for light and goodness, black for death, and yellow for the land.

“I can say that in my art there are two well-defined lines of thought. On the one hand, there is the purely aesthetic side, influenced by the nature and cultural traditions of Mali, my country, and that determines the colors and the materials of my work. On the other hand, there is a more spiritual side, which stems from the desire to investigate and describe through my work the human suffering, which reflects itself on the relations between states, politics, the environment, society and the family.”

“Lune Bleue” is a current exhibition of works by Abdoulaye Konaté at Lévy Gorvy Dayan gallery in New York City. The show closes on February 17, 2024. link: https://www.levygorvydayan.com/exhibitions/abdoulaye-konate-lune-bleue

Primo Marella Gallery, Milan, Italy, represents Abdoulaye Konaté and their website has many resources about the artist. link: https://www.primomarellagallery.com/en/artists/1/abdoulaye-konate/

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Fight Against HIV (Lutte contre le HIV)
Abdoulaye Konaté
1995
Textile and suitcase containing three screenprints and a blanket, 14.2 x 7.8 ft. l 434 × 238 cm. Exhibited at Africa Universe 2, Primo Marella Gallery, Milan, Italy, December 2020 – February 2021. © Abdoulaye Konaté.
The chest below the fabric hanging contains a blanket tied in a red ribbon and adorned with a large AIDS-awareness ribbon. Most of Konaté's works in the 1990s addressed major international issues like the AIDS epidemic, deforestation, war and terrorism, and human rights.
Intolerance (L’intolerance)
Abdoulaye Konaté
1998
Mixed media textile, 7.6 x 13.2 ft. l 232.5 x 403.5 cm. Exhibited at Africa Universe 2, Primo Marella Gallery, Milan, Italy, December 2020 – February 2021. © Abdoulaye Konaté.
Lost among the red garments at the bottom of this work is a cartoonish figure which appears unconscious or dead. At the right edge, a figure-like shape appears to hold out a small package toward the fallen character. The chaotic colors and textures contrast strongly with the majority of Konaté's works.
Biometric Generation (Génération Biometrique)
Abdoulaye Konaté (Malian, b. 1953)
2008 – 2012
Cotton fabric, 9.8 x 20.5 ft. l 298 x 625 cm. Primo Marella Gallery, Milan, Italy. © Abdoulaye Konaté.
"Biometric Generation" addresses the migrant crisis, with colored figures floating in a blue fabric ocean surrounding the flag of the European Union. A second version includes a red, white, and blue Statue of Liberty in one corner, with the colored figures floating toward it from right to left.
Religious Tolerance (Tolerance Religieuse)
Abdoulaye Konaté
2013
Dyed, stitched and layered cotton, and embroidery, 7.2 x 9 ft. l 220 x 274 cm. Tiroche DeLeon Collection, Gibraltar. © Abdoulaye Konaté.
This work stands out for its limited color palette, which allows the religious symbols to stand out from the background. This is the first example in the slide show that uses Konaté's distinctive ribbon technique.
Nature Man 2 (Homme Nature 2)
Abdoulaye Konaté
2013
Dyed, stitched and layered cotton, and embroidery, 7.6 x 6.1 ft. l 232 x 186 cm. Exhibited at Primae Noctis Art Gallery, Lugano, Switzerland, from October 27th, through November 30th, 2016. © Abdoulaye Konaté.
Deforestation has been an ongoing concern of the artist. This work celebrates the connection of nature and humankind. The next slide shows a detail of this.
Nature Man 2 (Homme Nature 2), detail of lower right
Abdoulaye Konaté
2013
Dyed, stitched and layered cotton, and embroidery, 7.6 x 6.1 ft. l 232 x 186 cm. Exhibited at Primae Noctis Art Gallery, Lugano, Switzerland, from October 27th, through November 30th, 2016. © Abdoulaye Konaté.
This is a detail of the preceding work. Embroidery covers the face of the figure and you can see very clearly the structure of the ribbons.
The artist at work.
Photograph. Retro Africa Gallery website, Abuja, Nigeria. https://www.retroafrica.art/artists/abdoulaye-konate
Man of Sahel (Homme de Sahel)
Abdoulaye Konaté
2015
Dyed, stitched and layered cotton, and embroidery, 9.2 x 4.8 ft. l 281 x 145 cm. Primo Marella Gallery, Milan, Italy. © Abdoulaye Konaté.
The Sahel is a transition zone between the Sahara Desert to the north and the savannah to the south. The region stretches across Africa and has been subject to drought, desertification, and political upheaval. Diré in Mali, where Konaté was born, is near the Sahel.
Purple to the Character (Violet au personnage)
Abdoulaye Konaté
2018
Dyed, stitched and layered cotton, and embroidery, 5.1 x 6.7 ft. l 155.5 x 204.5 cm. Primo Marella Gallery, Milan, Italy. © Abdoulaye Konaté.
As in the preceding work, the arrangement of colors here creates the impression of a standing figure. The next slide is a detail view.
Purple to the Character (Violet au personnage), detail of center
Abdoulaye Konaté
2018
Dyed, stitched and layered cotton, and embroidery, 5.1 x 6.7 ft. l 155.5 x 204.5 cm. Primo Marella Gallery, Milan, Italy. © Abdoulaye Konaté.
This detail of the preceding work shows the figure's skirt and feet or legs. The lowest purple row is made of tie-dyed fabric.
Blue Moon (Lune Bleue)
Abdoulaye Konaté
2019
Dyed, stitched and layered cotton, and embroidery, 13.2 x 17.1 ft. l 402 × 520 cm. Lévy Gorvy Dayan Gallery, New York, NY. © Abdoulaye Konaté.
This work was inspired by Konaté's childhood memory of observing the moon’s reflection on Lake Faguibine on the southern edge of the Sahara Desert. The lake no longer exists; it was destroyed by drought in the Sahel during the 1970s and 1980s. The next slide shows a detail of the central detail.
Blue Moon (Lune Bleu), detail of central motif
Abdoulaye Konaté
2019
Dyed, stitched and layered cotton, and embroidery, 13.2 x 17.1 ft. l 402 × 520 cm. Lévy Gorvy Dayan, New York, NY. © Abdoulaye Konaté.
This is a detail of the preceding work. The pale fabrics of the moon have patterns within the subtle dyed colors. The intricate sewing and careful color choices Konaté uses are especially noteworthy in this detail.
Motifs - Sahel and Kente
Abdoulaye Konaté
2020
Dyed, stitched and layered cotton, and embroidery, 6.3 x 5.1 ft. l 191.8 x 155 cm. Lévy Gorvy Dayan Gallery, New York, NY. © Abdoulaye Konaté.
In an interview for Widewalls.ch, Konaté said of works like this “These Sahel symbols are a visual language in themselves, and by bringing them together with Kente and Malian fabrics, I’m reflecting on the interweaving of material cultures and wider societies across the continent, and perhaps offering a metaphor for the strength and beauty of unity as a whole.” The next slide contains two details of this piece.
Motifs - Sahel and Kente, details of medallions from center axis
Abdoulaye Konaté
2020
Dyed, stitched and layered cotton, and embroidery, 6.3 x 5.1 ft. l 191.8 x 155 cm. Lévy Gorvy Dayan Gallery, New York, NY. © Abdoulaye Konaté.
These are two details from the central axis of the preceding work. On the left is an example of some of the delicate embroidery Konaté uses in his works. In both details, you can see more examples of tie-dyed fabric.
Ashanti Supremacy (Suprematie Ashanti)
Abdoulaye Konaté
2021
Dyed, stitched and layered cotton, and embroidery, 5.4 x 5.1 ft. l 166 x 156 cm. Primo Marella Gallery, Milan, Italy. © Abdoulaye Konaté.
The inclusion of kente cloth details refers to Ghana. The Ashanti referenced by the title are an ethnic group of West Africa, and the Ashanti Empire was a pre-Colonial state in what is now southern Ghana. Konaté frequently incorporates medallions and symbols which would be meaningful to Malian or other West African communities.