Alioune Diagne

Subliminal Visual Language of a Fragile Humanity

“It is the business of the artist to make humanity aware of itself.”

– Ezra Pound

ABOUT THE ARTIST

The Senegalese-French painter Alioune Diagne was born in 1985 in Fatick, a city in western Senegal. Despite a complex childhood, Alioune expressed a great artistic talent since his childhood, and his admission to the the National School of Fine Arts in Dakar in 2008 firmly committed him to pursue an artistic career. In 2010 he arrived in France and settled in Vienne, a town in the southeastern part of the country, in the Rhône-Alpes region, where he will develop his personal mode of expression: the figuro-abstro style. From that moment on, Alione starts to depict figurative scenes using abstract signs painted in luminous tones.

While the figurative image carries the message, the multitude of abstract signs allows the expression of an unconscious feeling or thought, provoking a relation with a viewer on a deeper level. This movement is a result of Alioune’s desire to tell his story through painting, to perpetuate the important oral transmission of his Senegalese culture by materializing it through unconscious signs present in his paintings. One of his goals is to create visual archives of a vibrant culture in a perpetual change, to portray a greater, universal human experience pointing out the injustices and tragedies of humankind like poverty, racism,and clandestine migrations resulting from climate change.

Alione Diagne was the first artist to represent Senegal at the 60th Biennale of Contemporary art in Venice in 2024. . In collaboration with art critic and curator Massamba Mbaye, Diagne’s exhibition “Bokk – Bounds”, calls for unity and fostering bonds by connecting through universal challenges and values. Since 2011 Alioune has worked on a variety of artistic projects. Some of them include the “Perceptions” exhibition in Paris in 2019, and “Wonema – let me see” in Dakar in 2020, a solo show, “Ettü Kër – Inner Courtyard”, about Senegalese memory at the Grand Théâtre National de Dakar, which was part of the Special Pavilions of the Dakar Biennale, solo show in 2023 called “Tukki” about displacements at Galerie Templon in Brussels and an exhibition on clandestine migration issues called “Seede” (witness) at Galerie Templon in Paris early in 2024.

The exhibition “Ndox – Glint” (sparkling water) at the Musée des Beaux-Arts in Rouen in 2023 holds a special place as a dialogue with Impressionist masters like Claude Monet, Eugène Boudin, Alfred Sisley, Alioune also participated in several group shows, including at the Norval Foundation in Cape Town, where he won the 2023 Public Vote Prize, and at Kunsthal KAdE in Amersfoort, Netherlands, for the Africa Supernova exhibition in 2024. His current exhibition “Jokkoo” in which Alioune explores points of connection between the Afro-American and Senegalese culture through sports, currently takes place at the Templon gallery in New York.

A. Malnar:

Let’s start with your country, Senegal, your main source of inspiration. Born in 1985, you grew up in Kaffrine and at 19 you joined your mother in Dakar. How would you describe your childhood? What were your aspirations? What was the society of that time that you had to face?

A. Diagne:

My childhood was initially turbulent. My parents got divorced, and I took the decision to walk hundreds of kilometers to find my father and live with him. I grew up with my father’s family in a small village in Sine Saloum, a region with a rich cultural background. Since childhood, drawing has been my means of expression. I drew constantly, almost instinctively. This passion surprised people, and I was sometimes misunderstood because of it. But I was also fortunate to be encouraged, notably by a teacher who, noticing my drawings, suggested I illustrate history and geography lessons on the board to help my classmates.

I didn’t know at that time that painting could become a career. I didn’t know galleries or museums; those words were foreign to me. I didn’t even know what it meant to be an artist. However, I was deeply nourished by the environment in which I lived: the traditions, the festivals, the markets, that simple but precious freedom, the sense of sharing, of helping each other. This culture, these scenes of life, have remained anchored in me. They continue, even today, to inspire my work. At the age of 19, after my father’s death, I joined my mother in Dakar. And it was there, through encounters, that I discovered the School of Fine Arts where I trained. My family didn’t immediately understand this choice. But little by little, seeing my perseverance, they began to support me.

A. Malnar:

You often mention the role of your grandfather, a Quranic master responsible for the calligraphic reproduction of the Quran. To what extent did his influence play a role in your own artistic expression?

A. Diagne:

I was also deeply influenced by my grandfather, whose rigor and his relationship with transmission left a strong imprint on me. We shared the same name, Alioune Diagne, and this lineage created a special connection between us. During my childhood and adolescence, he occupied a central place in my life. I was deeply fascinated by his work in Arabic calligraphy and the precision of his technique. When he passed away in 2013, I was living in Vienne in France. His passing deeply affected me. And, without realizing it right away, I began instinctively drawing portraits, scenes from life composed of signs that, in hindsight, were reminiscent of calligraphy. It was much later that I understood that “figuro-abstro,” this new language I was developing, had its source in my grandfather’s legacy.

A. Malnar:

Despite the lack of resources, you often mention your teacher at school, who assigned you the drawings for geography and history lessons. Can you tell us more about this experience at school?

A. Diagne:

When I was in fourth and fifth grade, I was responsible for illustrating the history and geography lessons on the board, at my teacher’s request. At the time, textbooks were rare. In a class of about fifty students, three or four students often had to huddle around a single book, which made the lessons difficult to follow. To compensate for this, my teacher asked me to reproduce the textbook’s images on the board, often during recess. I felt valued by the trust my teacher showed in me. This gave me a sense of confidence, and I began to realize the importance of drawing. Later, I continued to draw, particularly on my classmates’ soccer jerseys. I added motifs and characters inspired by our country’s religious leaders, who are often considered lucky charms. It was a spontaneous way to express what inspired me, connected to my roots.

A. Malnar:

How would you describe Senegalese culture, including its most valuable aspects to Westerners who are often conditioned by the limiting discourse of the media?

A. Diagne:

Senegal is a country of great cultural richness. What I am committed to sharing, through my work, are precisely these values, these traditions, this beauty, and this humanity, which by far exceed the stereotypes often conveyed by the media. It is also a country that is constantly evolving, in a state of perpetual transformation. Cities are modernizing, global exchanges are intensifying, and Senegal is fully participating in this dynamic, particularly in the field of art, and more specifically, contemporary art. What is remarkable is that this evolution is taking place without breaking with deep traditions and ancestral practices. It is this dialogue between modernity and heritage that, in my opinion, constitutes the country’s richness.

There’s also this vibrant energy that we feel in the markets, in the streets, in the way people live together. There’s this spirit of hospitality that’s very present in my country. I also admire the beauty, courage, and resilience of women, who sell products in the markets while caring for entire families, sometimes even communities. There’s also our youth, free, full of hope and ambition. Senegal is also a country of celebrations. Ceremonies, whether religious, family, or traditional, are fully experienced with a collective intensity that leaves a deep impression on me. There’s a way of honoring the bond, the memory, which I feel is precious to pass on. I’ve had the chance to travel to Europe and the United States, but I’ve never found that energy, that human warmth, that way people connect and help each other, which, in my eyes, constitutes the soul of Senegal – the land of Teranga.

A. Malnar:

In 2008, you were accepted into the Dakar School of Fine Arts. Choosing an artistic career in a country where access to culture is so limited is a very courageous choice. What were the most significant obstacles you encountered along the way?

A. Diagne:

Initially, my family didn’t fully understand my decision to attend the Dakar School of Fine Arts. The idea of making a living from art seemed uncertain to them. But despite their reluctance, I followed my intuition, and they gradually gave me their support. Joining this school was a real opportunity for me, and that’s what I focused on, not the obstacles. It’s a renowned school that has trained great artists. It offers an open education in art history and allows for the exploration of numerous techniques. It’s also a meeting place, with the presence of international artists. I found a stimulating environment there, which was essential to my career. Contrary to popular belief, I am convinced that studying art in Senegal and at a school like this is a blessing.

A. Malnar:

In 2010 you arrived in France, first in Vienne. What was this experience like, especially in terms of artistic opportunities?

A. Diagne:

Indeed, in 2010, I moved to Vienne, in Isère, which quickly became a truly adoptive city for me. I received a warm welcome, including the support of the mayor. Very quickly, I became involved in local life, leading art workshops, particularly with children, and collaborating with various associations. I also took private art lessons, which allowed me to continue to progress in my practice. But it was above all the encounters I made in France that were decisive. They opened up opportunities for me and allowed me to develop exhibition projects, both in France and elsewhere in Europe.

A. Malnar:

I discovered your work at the Venice Biennale, where you represented Senegal with the Bokk-Bounds project. You left a very powerful message with the broken canoe, denouncing the injustice that pushes people to death. Illegal immigration is something that affects you, but how can we achieve change?

A. Diagne:

The dangers of illegal migration are one of the current issues that deeply affect me. I have been deeply affected by the many human tragedies that have marked the news in my country in recent years. Through my paintings, I seek above all to alert, particularly Senegalese youth, about the deadly risks of these crossings, but also address the disillusionment that awaits them once they arrive in Europe. I also want to show that opportunities also exist here on the continent.

This theme was already at the heart of my exhibition Seede—which means “testimony”—presented at the Galerie Templon in Paris. It was also present in my exhibition Ndox-Glint at the Musée des Beaux-Arts in Rouen, and it can also be found in my project for the Venice Biennale: Bokk-Bounds, both in some of the project’s paintings and in the central installation: a traditional eight-meter dugout canoe, broken in two, covered with a textile I painted. This dugout symbolizes the broken bonds between individuals, the violence of migratory journeys, and the great waves of displacement that have always crossed human history.

© Ana Malnar: Alioune Diagne”s a traditional eight-meter dugout canoe, broken in two, covered with a textile painted by the artist. View from the Arsenale pavilion at the 60th International Art Biennale in Venice.

A. Malnar:

Tracing a story- what does it mean to you ?

A. Diagne:

For me, tracing a story is, above all, bearing witness. What I paint are real scenes, moments of current life that I observe in Senegal, but also during my travels. These are moments that touch me deeply because they speak of humanity, of connection, of society, and of a pan-African culture. I transcribe scenes that often carry a broader, universal resonance, which touches on important contemporary issues. In the case of Senegal, I feel I am both a witness and a transmitter. I seek to immortalize life as it is today: our traditions, our values, daily life in Senegal. The country is undergoing a profound transformation, and through my works, I try to preserve a trace of this evolving memory. It’s a way of creating a living archive of my country.

A. Malnar:

You’ve introduced us to a whole range of Senegalese society: modou-modou or street vendors, market women, urban dancers, Wolof girls from Saint Louis, the migrants’ journey in “Destination Unknown,” the stories of the fishermen in the “Seede” exhibition. Among all your works, is there a particular painting from which you are inseparable?

A. Diagne:

Many of my paintings are close to my heart because they are linked to my own history, to my experiences. But I manage to detach myself from them, and I’m proud that they can live elsewhere, be shared with others, and reach a wider audience. When a work enters a museum collection, it’s always a powerful moment for me. This is the case, for example, with the painting Young Street Vendor, now at the Denver Art Museum. For me, it’s very symbolic that a fragment of Senegalese daily life can be seen in a museum in the United States.

But if I had to choose one work in particular, there is one to which I am very attached. It’s called Education, and I painted it in 2013. It’s a pivotal work because it’s the first I painted using my figurative-abstract technique. It’s the first time my signs—this form of writing that is unique to me—appear in my work. The painting depicts a child writing. It evokes my own journey, the strong bond I had with my grandfather, and the importance I place on children’s education. It’s a seminal work, to which I remain deeply attached.

A. Malnar:

Your current exhibition, Jokkoo-Connection at the Templon gallery in New York, explores this shared culture between Africa and the United States, shared values and experiences, particularly through sports, as a representation of the American dream. Is it time to begin envisioning an “African dream,” and if not, what conditions will be needed to change the outlook for a better future in Africa?

A. Digne:

I deeply believe in the idea of an “African dream.” It’s not just a response to the American dream, but a distinct ambition, rooted in our reality, our wealth, and our local dynamics. It is entirely possible to succeed, to carry out ambitious projects, and to create international synergies from the continent, particularly from Senegal, which is today a true hub of creativity, energy, and initiatives.

It was this conviction that drove me to return, set up my studio in Senegal, and develop my projects from my home country. I also encourage the diaspora to reconnect with the continent and invest their energy, creativity, and expertise. And I’m happy to see this movement is already underway.

More about the artist:

Alioune Diagne has been represented by Galerie Templon since 2022, https://www.templon.com/fr/

Alioune Diagne’s official website: https://www.aliounediagne.com/

Instagram: @aliounediagne_officiel

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