
PULAAKU SERIES
Pulaku is the guiding philosphy of Fulani life, rooted in self-discipline, patience, grace and the dignified care of both self and community. It is an ethos of inner strength and outer harmony.
This series of paintings draws inspiration from the pastoral landscapes and poetic rhythms of the Fulani people of Fouta Djallon, Guinea.
Through layered compositions, earthy pigments, and gestural marks, I evoke the quiet nobility of Fulani life, its rituals, movement, and pastoral chivalry.
These works are both memory and meditation, a visual homage to the spirit of Pulaku.
WANSAN
DALABA
GNAWA SERIES
Born of trance and sound, this series of paintings emerged as I surrendered to the hypnotic melodies of Gnawa music, its layered rhythms, deep bass tones of the Guembri, and the cyclical chime of the Kraqeb.
In that sonic landscape, my brush moved instinctively, guided by feeling rather than form. Each mark echoes the meditative repetition and spiritual depth of the music.
The Gnawa series is a visual rhythm, a choreography of pigment and memory, capturing how sound becomes movement, and how movements becomes meaning.
DOGON SERIES
Inspired by the organic ingenuity of Dogon architecture, this series pays homage to a built environment where form, function, and spirit are inseperable.
From the low-slung toguna (men’s gathering space) to the sculptural granaries and stacked stone fences that encircle each village, Dogon structures embody a sophisticated simplicity, earthbound, intentional, enduring.
Through textured surfaces, layered earth tones, and architectural abstractions, I translate this spatial language into painted form.
These works are meditations on place, protection, and the quiet monumentality of ancestral design.
DJENNÉ SERIES
Secure, resilient, and earth-born, the Great Mosque of Djenné, one of Africa’s most iconic architectural marvels, is both a sacred site and a symbol of cultural endurance.
This UNESCO World Heritage landmark inspired this series of paintings that translate its architectural language into layered textural compositions.
Elegant adobe pillars, palm tree beams jutting like rhythmic accents, petite windows that filter light like whispers, and minarets crowned with ostrich eggs, all become visual motifs.
In these paintings, structure becomes symbol, and form becomes devotion.
Banner image:
BINTA
2020
Watercolor on paper
20 x 23 in.
Private Collection, Cambridge, Massachusetts
While in Mali conducting research for the Djenné/Dogon series I made a point to visit the village of Senossa just outside of Djenné. There I met Binta Gadiaga, an elegant, radiant, Fulani woman surrounded by her daughter-in-laws. She carried herself with such grace and style, embodying everything I hoped to capture in my work. She fell in love with my prints and what followed was an impromptu photoshoot, her presence becoming both muse and memory. This portrait is my tribute to her spirit.