© Copyright 2019  Mame-Diarra NIANG ,  All rights reserved

                                                                                         

" Le visible ne suffit pas pour comprendre ce qui est vu.  Le visible ne s'interprète qu'en référence à l'invisible. " 

  Pascal Quignard. Sur le Jadis

 

 

I make no attempt to portray the African continent or postcolonial architecture— to be understood, my artwork needs to be profaned.

 

I challenge the viewer to see beyond the recognizable. I carve the land, I sculpt what is living, I decontextualize. Then, I reconstruct a territory with fragments of existing landscapes. Through my documentation of a specific area, I expose simultaneous paths of unanchored space. Throughout my series, the titles that I set up become checkpoints that frame the extension of a hidden territory— my territory. 

 

As any visual territory possesses borders, the act of framing becomes a fundamental gesture. As a result, notions of language and representation begin to collapse. In my practice, the visible is not enough. In looking beyond the obvious, my process concentrates strictly on observing and engaging with the matter of the self. Whether through the photographic lens, or the moving image, my ideas remain at the core. 

 

I hope to inspire those who see my work to look more carefully at themselves, to provide an internal starting point to navigate the landscapes that surround them. I question the frame, the device and the process, which allowed me to claim identity as territory. I instill a nomadic relationship with the viewer, and reciprocally— with myself. 

 

As I spent my childhood in Lyon, Abidjan, and Dakar, I lived in a state of constant metamorphosis. Within this continual change of environments, the various cultures and languages I encountered always seemed to piece themselves together, like a puzzle. It is a strong marker, pulled from my personal experience and incorporated into my practice. It is what I have called the plasticity of territory, The Spanish call it vivencia— a billowing word, that names life as an experience in and of itself.

 

With each reinvention and adaptation, my work changes and alters its frame accordingly— each time accruing new meanings. My wandering culture has become embedded in my work, like the scattered fragments of a body that remains dispersed across time and space.

Mame-Diarra NIANG

DISJECTA MEMBRA - SCATTERED FRAGMENTS