Tewasart Africa: Describe your art style/technique/creative process.
Olga Yaméogo: My style is unique and undefined
Tewasart Africa: What mediums do you incorporate in your work? And how do you choose the medium for a particular work?
Olga Yaméogo: I work with pigments, inks, acrylic, oil, and collage. The medium is defined according to the story I want to tell
Tewasart Africa: How do you start or prepare for a new body of work or develop your ideas from scratch to actual artwork? And what’s your inspiration at the moment?
Olga Yaméogo: I often work on series, inspired by real-life moments, encounters, and feelings. I am currently working on family and crossbreeding
.
Tewasart Africa: How would you define the groups or people in your work or rather who are these people in your work?
Olga Yaméogo: It all depends on the series: in the “PARTIR” series my inspiration came from the groups of migrants coming to the West. The new series is lighter and is inspired by my encounters and my observations, these crowd movements make me think of choreographies, of dance, where we move forward in life.
Tewasart Africa: Discuss fashion as an element in your work.
Olga Yaméogo: I don’t know anything about fashion, but perhaps unconsciously I am influenced by my sisters.
Tewasart Africa: Where are you currently based? What was your art journey like?
Olga Yaméogo: In the south of France, near Toulouse. Self-taught
Tewasart Africa: Any formal training?
Olga Yaméogo: Non
Tewasart Africa: On social commentary, What’s that childhood memory that still fuels your creativity? And how would you describe the society you grew up in?
Olga Yaméogo: All creations are nourished by experience, traces of childhood, as far as I am concerned, family ties, relationships with others, encounters
Tewasart Africa: How is the experience shown in Geneva with Gallery Brulhart? Did you attend the opening? How was the reception
Olga Yaméogo: Great, I was at the opening, the wonderful welcome, the conference and discussions led by Bansoa Sigam were very rich.
Tewasart Africa: What’s the exhibition about and how many paintings are featured, what’s the smallest piece in size and the biggest? What’s the price range?
Olga Yaméogo: The title of the exhibition is “filiations” 10 paintings exhibited, from 30cm x30cm to 195 cm x 150 cm. Price from 1000 to 8000 €
Tewasart Africa: Any art career advice for any aspiring artists
Olga Yaméogo: work, work, work
Exhibition: Gallery Brulhart presents Filiations by Olga Yaméogo (Burkinabé, b. 1966)
In Geneva, Burkinabe Artist Olga Yaméogo is delighted to launch her solo exhibition Filiations with Gallery Brulhart. The exhibition runs through 19 October 2024. Based in the south of France near Toulouse, Olga explores migrant stories through painting, inspired by her own encounters, and observations, and as explored in the work of Édouard Glissant (1928-2011). Blurry faces, and bold and fluid brush strokes, characterize her painting style. Combining vivid and muted tones, and mixed media she depicts crowds in motion and some of her subjects in a still position. Using memory, poetry, and social commentary she highlights the life of migrants and pop culture.
As described in the exhibition press release available on the gallery’s website, an artist talk with Bansoa Sigam, The exhibition title, Filiations, alludes to concepts of legitimacy in the connections (“relations”) between humans and land, as explored in the work of Édouard Glissant (1928-2011). Indeed, Yaméogo frequently references Glissant, the West Indian poet and philosopher who developed the concept of the“ creolisation” of the world.
Yaméogo identifies with this creolisation, which she describes as a “métissage that is not just about territory or blood ties, but above all cultural”. Glissant advocates for a fresh take on the concept of filiation through the prism of the All-World (“Tout-Monde”), where humans, animals, landscapes, cultures and spiritualities are linked in a constant state of exchange and flux.
The term filiation evokes links of parentage and descent, and Glissant warns against societies that justify their claim to the land through God-given filiation. In the image of the composite West Indian societies that emerged from colonisation, Glissant sees creolisation as a model for understanding the modern world, where dematerialisation and free markets enable control over a territory without occupying it. Filiation no longer constitutes a claim to land or a blood relationship, and Yaméogo has re-appropriated the term to examine the deeper ties of identity between people and territories.
Yaméogo seeks to share the manifold filiations of people in flux. Throughout the world, countless migrants roam, each with their own multifaceted cultural identity, shaped by different countries, languages, cultures, and citizenships. The question “Where are you from?” implies fuzzy logic, where all the answers are partly true and partly false. How can we convey the total of our identity, of where we come from, where our parents are from, where we have lived, where our friends and family are? How could we possibly record all this on an official identity document? In obscuring the faces of her subjects, Yaméogo respectfully and sensitively evokes their stories without ever overexposing them.
Yaméogo’s personal histories and relationships are perceived rather than understood, suggestive of the journeys and connections that join us across the Tout- Monde. These filiations are rooted in bonds of trust, not of blood or documentation, and are a counterpoint to the modern borders that are designed to contain and divide, rather than to mark the transition from one landscape to another.
The shimmering, fuzzy logic of Yaméogo’s paintings celebrates fluctuating definitions of identity and the quivering of the world. She catches on canvas the hummingbird-like nature of an individual in perpetual physical and metaphysical movement. Blurred limbs in motion outline memories of the places we’ve passed through, reminding us how wandering (déambulation) can transform our perspective.
Text Credit: Rosie Cook
With acknowledgments to Karen Seegobin and Bansoa Sigam