{"id":5971,"date":"2025-11-28T14:16:37","date_gmt":"2025-11-28T14:16:37","guid":{"rendered":"https:\/\/thelifesphere.com\/index.php\/2025\/11\/28\/abdoulaye-konate-translates-ancient-spirituality-into-lush-tapestries-colossal\/"},"modified":"2025-11-28T14:16:38","modified_gmt":"2025-11-28T14:16:38","slug":"abdoulaye-konate-translates-ancient-spirituality-into-lush-tapestries-colossal","status":"publish","type":"post","link":"https:\/\/thelifesphere.com\/index.php\/2025\/11\/28\/abdoulaye-konate-translates-ancient-spirituality-into-lush-tapestries-colossal\/","title":{"rendered":"Abdoulaye Konat\u00e9 Translates Ancient Spirituality into Lush Tapestries \u2014 Colossal"},"content":{"rendered":"

\n<\/p>\n

\n

Through large-scale tapestries of fringed strips of fabric, Abdoulaye Konat\u00e9 explores the contemporary relevance of ancient signs and symbols. The Malian artist began working with textiles in the 1990s, when it became clear to him how prevalent they are in our everyday lives, from clothing and home goods to tools and more. This early interest began what\u2019s become a research-driven artistic practice, and today, he layers long, stitched pieces of Bazin<\/a> and Kente<\/a> fabrics into dynamic, largely abstract works.<\/p>\n

Konat\u00e9 and his team create each monumental tapestry entirely by hand, from the dyeing process to cutting and stitching. The final layout typically occurs on the studio floor after the artist sketches in marker and digitally refines this preliminary drawing to determine the exact composition.<\/p>\n

\u201cMotif du Mand\u00e9 et Calao S\u00e9noufo\u201d (2024), textile, 264.5 \u00d7 524 centimeters<\/figcaption><\/figure>\n

Most works incorporate gradients that begin with lighter colors on the bottom before reaching deep navys, reds, and blacks up top. Patterns and various motifs often emerge from the gathered strips as a way to invoke the artist\u2019s broad research interests from \u201cMalian craftsmanship, Tibetan art, Tunisian ceramics, Berber textiles, etc,\u201d says a statement from Templon<\/a>.<\/p>\n

\u201cMotif du Mand\u00e9 et Calao S\u00e9noufo,\u201d for example, features a geometric mark derived from the Manding people of West Africa. \u201cI took this symbol and deconstructed it, breaking it down into a central element, and then I tried to rework it from both sides,\u201d the artist shares in a video interview<\/a>. This enormous piece\u2014which stretches upwards of 17 feet long\u2014also features small Kalao birds<\/a>, which, for the Bambara tribe, represent wisdom and protection. They\u2019re also thought to facilitate communication between our realm and the spiritual.<\/p>\n

Despite his commitment to textiles, the artist likens his work to painting and the ways it allows for self-expression. \u201cThe material changes, but I think of it as painting,\u201d he adds.<\/p>\n

If you\u2019re in Paris, you can see Konat\u00e9\u2019s most recent exhibition, Le tissu du r\u00e9el<\/em>, or The fabric of reality<\/em>, on view at Templon through December 31.<\/p>\n

\"a
\u201cComposition bleue avec losanges \u2013 motif Tibet\u201d (2023), textile (Bazin and Kente), 242 \u00d7 224 centimeters<\/figcaption><\/figure>\n
\"a
Detail of \u201cMotif du Mand\u00e9 et Calao S\u00e9noufo\u201d (2024), textile, 264.5 \u00d7 524 centimeters<\/figcaption><\/figure>\n
\"a
Detail of \u201cLosange et triangle (bazin et kente) \u2013 ocre\u201d (2024), textile, 266 \u00d7 397 centimeters<\/figcaption><\/figure>\n
\"a
\u201cBleu et vert aux carr\u00e9s\u201d (2024), textile, 211 \u00d7 150 centimeters<\/figcaption><\/figure>\n
\"a
\u201cVert Touareg (motif 2)\u201d (2023), textile, 194 \u00d7 157 centimeters<\/figcaption><\/figure>\n
\"three
Installation view of Photo by Tanguy Beurdeley<\/figcaption><\/figure>\n
\"three
Installation view<\/figcaption><\/figure>\n