10 Questions With… Textile Artist Abdoulaye Konaté

Installation view of Source de lumière (Soleil) Motif d’Arabie sur Fond Ocr. 2024. Textile. 900 cm x 301 cm. Image courtesy of Efie Gallery and Moz Photography.

A gaze at Abdoulaye Konaté’s work hints at his background and influences, inviting deep curiosity. Regarded as one of the most important figures in West Africa’s Malian creative scene, Konaté built a career that has spanned roughly four decades and continues to live on. Beyond his artistry, his leadership roles include his 1998 service as the director of the Palais de la Culture Amadou Hampaté Ba in Bamako, Mali, and his current role as principal of the Conservatoire des Arts et Métiers Multimédia Balla Fasseke Kouyaté.

But in true essence, he is an artist who is renowned for his large-scale textile-based installations using woven and dyed fabrics. His works are elaborate, often residing between abstraction and figurations while possessing a refined message. At the same time, Konaté is also an activist, and he uses his art as a gateway to confront the numerous challenges that affect not just Mali but also the world at large. He has spoken about the AIDS crisis, challenged the socio-political issues across the African continent, and consistently shares stories from other cultures across the globe.

Konaté’s most recent project is a 9-meter textile work titled Sambadio, which was inspired by “Sambadio,” the final track of Malian musician Ali Farka Touré’s 1976 album. The song tells the story of farmers, celebrating a father’s plea to his son to honor the earth. This monumental work serves as a connection between West African and Middle Eastern cultures and was recently showcased at the Efiɛ Gallery in Dubai. Interior Design had a chat with the Malian textile artist on his decades-long career, activism through textile design, and recent exhibition at the Efiɛ Gallery.

Abdoulaye Konaté. Photography courtesy of artist and Efiɛ Gallery.

How Abdoulaye Konaté Weaves Activism Into Textile Masterpieces

Abdoulaye Konaté working on Source de lumière (Soleil) Motif d’Arabie sur Fond Ocr. Photography courtesy of Efiɛ Gallery and Moz Photography.

Interior Design: Describe your journey as a textile artist over the years.

Abdoulaye Konaté: I started using textiles in the 1990s, when I began working primarily on installations. It was during this time that I started incorporating many different materials, and gradually, textiles began to play a larger role in my work. Over time, I focused more on textiles. I still work with acrylics, make models, and continue sketching, but now my main focus is on textiles.

ID: Your work seems to hover between abstraction and figuration. How do you approach each theme for a specific project? 

AK: I always try to adapt my technique depending on the theme. If it’s figurative, I think about the most suitable method to express the subject. My approach is grounded in my studies, where I consider whether the message should be conveyed in an aesthetic context or a more social one. Based on this, I decide whether to use figuration or just work with color gradients.

ID: Would you share your experience growing up in Mali? 

AK: My journey began with a love for drawing, and I was fortunate to have a neighbor who was a self-taught painter named Boubacar Koita. I grew up in a village in the Sahel region of Mali, by the river, and at school, we were always among the top students in drawing. We enjoyed sketching cinema posters and designing patterns for traditional weavers. We were also fortunate to have teachers who had graduated from the National Institute of Arts, and they passed on important technical skills and values. This allowed us to gradually develop our passion for the arts. Later, I attended the National Institute of Arts in Bamako and then worked at the National Museum of Mali. Afterwards, I went to Havana, Cuba, to pursue higher studies in fine arts.

Installation view of Motif Touareg sur fond bleu du Sahel et du Sahara. 2024. textile. 400 cm x 251 cm. Image courtesy of Efiɛ Gallery and Moz Photography.

ID: Have you explored other mediums aside textile?

AK: Yes, I’ve worked with oil painting, acrylics, engraving tools, lithography, screen printing, and some sculpture work, like most students who study fine arts. We also learned mosaic techniques for large monuments, and I created models that were later reproduced as ceramics. One of these models is a 12m x 2m (39 ft x 6 ft) piece that now resides in the metro in Portugal. I’ve experimented with many artistic techniques, but it wasn’t until the 1990s that I began to focus on textiles.

ID: Color and texture are important elements of your work. Is that a conscious decision or are you driven by whatever idea your thoughts deem fit?

AK: I’ve always loved color. When I worked with airbrush techniques, I would sometimes mix up to 200 color shades, using the airbrush to spray and work on nightscapes or desert landscapes. I also studied color in insects, particularly butterflies, and the way a chameleon can change its colors to blend into its environment. The variety of colors that these creatures exhibit is truly impressive, and it has influenced my work.

ID: Your latest work at Efiɛ Gallery in Dubai was inspired by a song. How did that become a source of inspiration for you?

AK: For the Efiɛ Gallery exhibition, you’ll recall that the title is inspired by Ali Farka Touré’s song “Sambadio,” which is about labor and the earth. This 9-meter canvas is like a depiction of a sunrise or sunset, recalling nature and its beauty, but also the idea of labor as expressed in the song. This connection to the land and the work it symbolizes was what inspired the large scale of the piece for the exhibition. Additionally, this exhibition marks my representation by Efiɛ Gallery; it was my first presentation in the Middle East, a region I am particularly interested in exploring. It offers a chance to link its rich history and culture with my artistic journey. In this exhibition, I have incorporated symbols and motifs that are native to the region, specifically those of the nomadic Arabs and their Bedouin culture. This exploration feels natural to me, as I come from the Sahel, where we have been shaped by a unique blend of Western, Arab, and African cultural influences.

Installation view of Source de lumière (Soleil) Motif d’Arabie sur Fond Ocr. 2024. Textile. 900 cm x 301 cm. Image courtesy of Efiɛ Gallery and Moz Photography.

ID: One significant attributes of your works is its large scale nature, do you often worry that the scaling won’t be perfect?

AK: Often, the scale of the work isn’t immediately apparent, but when I focus on the theme, I think about the size of the piece. I don’t necessarily think about where it will be displayed, whether in a home or other venue. Instead, I think about the space I’m creating to express myself fully and make sure the message reaches the viewers with the necessary impact.

ID: By using textile as a medium, are you also keen to make political commentary or explore other social issues that affect your community? 

AK: It’s not just about my community—it’s about global issues. With textile as a medium, I primarily address societal issues, like war, disease, religion, and political strife, with a secondary focus on aesthetic exploration. For my current exhibition at Efiɛ Gallery, the works in the series are influenced by the theme of light—its spiritual, religious, and geographical aspects. The pieces are inspired by sunsets, sunrises, and twilight, reflecting my interest in exploring light and its sources, such as the sun, stars, and the moon, along with its powers of veiling and unveiling.

ID: In what ways are you inspired by stories from other cultures and traditions?

AK: I draw inspiration from all ancient cultures, particularly those that address human themes: tolerance, beauty, religion—cultures that elevate the human soul. These universal themes transcend borders and resonate deeply in my work. My series at Efiɛ Gallery focused primarily on the relationship that communities have with the earth, especially in regions like Africa and the Middle East. These areas, with their harsh environments—such as vast deserts—require resilience, patience, tolerance, and commitment. This connection to the earth is a theme I sought to explore in every piece, with the 9-meter work as the central embodiment of this concept, emphasizing the profound strength and endurance that comes from this relationship.

Abdoulaye Konaté sits in front of his work. Photography courtesy of artist and Efiɛ Gallery Horizontal.

ID: Your career has spanned decades, and important memories have been made. What is your key advice to the new generation of young artists coming forth?

AK: My advice is to be patient first and foremost, to work hard, study, and conduct extensive research. Artistic work is essential for progress, and one must not rush or prioritize money over the work itself. It’s crucial to focus on developing research and maintaining consistent effort in your practice.

Source de Lumière (hexagone) Motif d’Arabie Sur Fond Rouge, 150 cm x 220 cm, 2024. Photography courtesy of Efiɛ Gallery and Moz Photography.

Maghreb Motif Sur Fond Bleu. 2024. Textile. 161 cm x 119 cm. Photography courtesy of Efiɛ Gallery and Moz Photography.

Motifs d’Arabie Sur Fond de Gris. 2024. Textile. 150 cm x 220 cm. Photography courtesy of Efiɛ Gallery and Moz Photography.