A.C: Please introduce yourself to our readers...
E.D.: Ernest DÜKÜ artist, born in Bouaké, Côte d’Ivoire, of a Ghanaian father and Ivorian
mother. I currently share my time living between Paris and Abidjan.
A.C.: Your artworks, beyond being simple paintings appear to be miniature artistic worlds in
and of themselves... Tell us about the essence of your inspiration, Ernest, and about the Akan
and african symbolism that we find in your art...
E.D.: My artistic work is based on the idea of deconstructing the common representation of
painting. It is a way for me to guide the public to question the essence of my work, my artistic
approach- what you rightfully call the "essence of my inspiration".
The essence of my inspiration is AKAN art, more specifically, the symbolism inherent to this
ancient art form. Beyond aesthetics and form, I try to draw certain elements from the ancient
Akan world, elements linked to its metaphysical nature. To do so, I travel back in time in search
of guidance, looking to find something that will better help me understand the present, to better
prepare for the future.
I also seek to understand other artists' worlds, as a way to uncover the ways in which "African
Art" in represented as a whole. And by this, I am referring to all those who find inspiration in
traditional african art, especially tassili and ancient Egypt art. I also seek to comprehend other
artistic expressions, such as the art of Brancusi, Wifredo Lam, or even closer to us, someone
like Jean-Michel Basquiat, for the Voodoo inspiration we find in their work.
Through my art, I seek to understand what nourishes the world's imagination.
C.A.: Your style, rich, abstract, vibrant, appears to have something of a mystical touch...
You seem to be inviting the public to ask questions, as a way to return to basics... What are you
trying to express through your work? How would you describe your artistic approach?
E.D.: I define my style as « figurative – abstraction », which in essence, is a blend of painting
and sculpture... From a purely aesthetic perspective, what I do is “sculptured painting”. It’s a
way for me to reappropriate an ancient art form, my purpose being to echo ancient Egyptian,
and ancient African art in general, where it was very common for painting and sculpting to
become one, especially in architecture.
To create this imaginary world, I use codes, symbols which give the public the impression of
being faced with something of a “mystical-religious” universe…Yet my work goes beyond a
simplistic mystical approach, and rather seeks to create a dialogue on the relationship between
creative expression and culture; it is an exploration of the connection between art and the
sacred, art and spirituality, in an attempt to make us go beyond taboos. Through my work, I
seek to invite us all to take another look at the history of an art form; I invite the public to ask
those questions about elements they would normally define as “mystical”. This is my way of
showing that mysticism isn’t “the strange”, the “unseen” or “the unreal”, but rather a quest for
truth, a search for pure and eternal values, a path which leads to finding a new consciousness,
and a new and intimate understanding of life. My aim is to tell stories in which another’s gaze can
come into, stories which will make people go beyond appearances and ask questions… My art
aims to be something of a space for regeneration of life. So from this perspective, I would define
my work as being a quintessential question to the universe; my creative approach is one which
invites the cosmos to answer the same question posed by Gauguin’s art “who are we, where are
we from, where are we going”.
C.A.: Recognized and celebrated in the art world, you often participate in world events
celebrating black culture. What do you feel are our strengths and challenges on the continent
and international art scenes, as Africans?
E.D.: The main thing I want to say is “Let’s be ourselves” in the construction of our images, of
our creative world. The art world’s specialists (“Foreign” Critics and Historians) may be free to
discuss contemporary creations from Africans or people from the Diaspora, but wouldn’t it be
wise for us not to fall into old patterns such as the ways in which ancient African art was defined
in the past? An art form which has gone from being defined as “Negro Art” to “Primitive Art”
among others… At other’s will. Let’s try to avoid letting other people define contemporary
African art in such terms as “World painting” or “World sculpture”, etc; like it was done with
African music. With respect to this, one of our challenges will be to organize more festivals and
art events, as well publish works where our art will be seen through an African gaze, as a way to
avoid being defined by foreign art theorists.
Doing this, of course, doesn’t in any way mean that we would be closing ourselves to the world.
There just seems to be a great need for us to participate in international events, and this, with
creations born out of our own worlds and dreams, with images that we would have created
ourselves. It is through such events that we can find ways to address the cultural challenges we
face in Africa ’s post-colonial era.
C.A.: T conclude, let’s talk about « African Consciousness »… How would you define yours,
Ernest, and how does it come across in your art?
E.D.: A true african consciousness could be through the decolonization of our minds, a process
which would enable us to absorb cultural influences from abroad without denying or forgetting
our own culture, past, or History; a true african consciousness would enable us to fully be and
express who we are. Art teaches us that above and beyond anything else, we are human beings,
and that whatever our religion or culture, we inherently respond similarly to artistic expression.
Through my own artistic expression, I seek to express the fact that there no longer is one single
historical place which can define art norms… And in my approach, one will always find an echo
to Edouard Glissant’s concept of the “all in one”.
By Anna Djigo.
E.D.: Ernest DÜKÜ artist, born in Bouaké, Côte d’Ivoire, of a Ghanaian father and Ivorian
mother. I currently share my time living between Paris and Abidjan.
A.C.: Your artworks, beyond being simple paintings appear to be miniature artistic worlds in
and of themselves... Tell us about the essence of your inspiration, Ernest, and about the Akan
and african symbolism that we find in your art...
E.D.: My artistic work is based on the idea of deconstructing the common representation of
painting. It is a way for me to guide the public to question the essence of my work, my artistic
approach- what you rightfully call the "essence of my inspiration".
The essence of my inspiration is AKAN art, more specifically, the symbolism inherent to this
ancient art form. Beyond aesthetics and form, I try to draw certain elements from the ancient
Akan world, elements linked to its metaphysical nature. To do so, I travel back in time in search
of guidance, looking to find something that will better help me understand the present, to better
prepare for the future.
I also seek to understand other artists' worlds, as a way to uncover the ways in which "African
Art" in represented as a whole. And by this, I am referring to all those who find inspiration in
traditional african art, especially tassili and ancient Egypt art. I also seek to comprehend other
artistic expressions, such as the art of Brancusi, Wifredo Lam, or even closer to us, someone
like Jean-Michel Basquiat, for the Voodoo inspiration we find in their work.
Through my art, I seek to understand what nourishes the world's imagination.
C.A.: Your style, rich, abstract, vibrant, appears to have something of a mystical touch...
You seem to be inviting the public to ask questions, as a way to return to basics... What are you
trying to express through your work? How would you describe your artistic approach?
E.D.: I define my style as « figurative – abstraction », which in essence, is a blend of painting
and sculpture... From a purely aesthetic perspective, what I do is “sculptured painting”. It’s a
way for me to reappropriate an ancient art form, my purpose being to echo ancient Egyptian,
and ancient African art in general, where it was very common for painting and sculpting to
become one, especially in architecture.
To create this imaginary world, I use codes, symbols which give the public the impression of
being faced with something of a “mystical-religious” universe…Yet my work goes beyond a
simplistic mystical approach, and rather seeks to create a dialogue on the relationship between
creative expression and culture; it is an exploration of the connection between art and the
sacred, art and spirituality, in an attempt to make us go beyond taboos. Through my work, I
seek to invite us all to take another look at the history of an art form; I invite the public to ask
those questions about elements they would normally define as “mystical”. This is my way of
showing that mysticism isn’t “the strange”, the “unseen” or “the unreal”, but rather a quest for
truth, a search for pure and eternal values, a path which leads to finding a new consciousness,
and a new and intimate understanding of life. My aim is to tell stories in which another’s gaze can
come into, stories which will make people go beyond appearances and ask questions… My art
aims to be something of a space for regeneration of life. So from this perspective, I would define
my work as being a quintessential question to the universe; my creative approach is one which
invites the cosmos to answer the same question posed by Gauguin’s art “who are we, where are
we from, where are we going”.
C.A.: Recognized and celebrated in the art world, you often participate in world events
celebrating black culture. What do you feel are our strengths and challenges on the continent
and international art scenes, as Africans?
E.D.: The main thing I want to say is “Let’s be ourselves” in the construction of our images, of
our creative world. The art world’s specialists (“Foreign” Critics and Historians) may be free to
discuss contemporary creations from Africans or people from the Diaspora, but wouldn’t it be
wise for us not to fall into old patterns such as the ways in which ancient African art was defined
in the past? An art form which has gone from being defined as “Negro Art” to “Primitive Art”
among others… At other’s will. Let’s try to avoid letting other people define contemporary
African art in such terms as “World painting” or “World sculpture”, etc; like it was done with
African music. With respect to this, one of our challenges will be to organize more festivals and
art events, as well publish works where our art will be seen through an African gaze, as a way to
avoid being defined by foreign art theorists.
Doing this, of course, doesn’t in any way mean that we would be closing ourselves to the world.
There just seems to be a great need for us to participate in international events, and this, with
creations born out of our own worlds and dreams, with images that we would have created
ourselves. It is through such events that we can find ways to address the cultural challenges we
face in Africa ’s post-colonial era.
C.A.: T conclude, let’s talk about « African Consciousness »… How would you define yours,
Ernest, and how does it come across in your art?
E.D.: A true african consciousness could be through the decolonization of our minds, a process
which would enable us to absorb cultural influences from abroad without denying or forgetting
our own culture, past, or History; a true african consciousness would enable us to fully be and
express who we are. Art teaches us that above and beyond anything else, we are human beings,
and that whatever our religion or culture, we inherently respond similarly to artistic expression.
Through my own artistic expression, I seek to express the fact that there no longer is one single
historical place which can define art norms… And in my approach, one will always find an echo
to Edouard Glissant’s concept of the “all in one”.
By Anna Djigo.
| Ernest DÜKÜ ~ Artist |
A.C.: African Consciousness
E.D.: Ernest DÜKÜ
E.D.: Ernest DÜKÜ
5 Questions for
| Ernest DÜKÜ |
Art works
| Ernest DÜKÜ |
| African Soul from Côte d'Ivoire (Ivory Coast) and Ghana |
| Pctures from the "Pintadattitude" exhibit at the Princesse Yenega art gallery (France): |
| For more information on Ernest Dükü: http://ernest.duku.over-blog.com |
| African Consciousness® |
Copyright © 2007-2008 ConscienceAfricaine.com
| La parole d'ombre 180 x 112 x 5 cm 2005 - Copyright Ernest Dükü |
| Kurumaat- Bouabre ( Soleil ô soleil ) 92 x 46 x 5 cm 2004 - Copyright Ernest Dükü |
| La Valise de SAMO 63 x 43 x 5 cm 2005 - Copyright Ernest Dükü |
| YEHUDA Le codex FALASHA 43 x 34 x 4 cm 2006 - Copyright Ernest Dükü |
| Le rêve Kongo inachevé 120 x 55 x 5 cm 2003 - Copyright Ernest Dükü |
| Code O.A.O. La parole du ventre 150 x 90 x 5 cm 2002 - Copyright Ernest Dükü |
| Oiseau CHAM ( Kreyol Attitude ) 94 x 54 x 5 cm 2003 - Copyright ernest Dükü |
| Merci "Bagnon" BRULY BOUABRE 30 x 25 x 5 cm Collection privée 2003 - Copyright Ernest Dükü |
| Ô my God @ inet Code A ( Atum ) 93 x 70 x 5 cm 2006 - Copyright Ernest Dükü |
| Et Dieu créa la Pintade 165 x 98 x 5 cm 2003 - Copyrignt Ernest Dükü |
| 2006 - Copyright Laya Bales |
| Copyright Patrick Brunie |
| Copyrignt Ernest Dükü |
| Copyrignt Ernest Dükü |
 |  |  |  |  |  |  |  |  |
| Copyright Laya Bales |
Copyright © 2007-2008 AfricanConsciousness.com
African Consciousness® presents
| ~Artist, intellectual, proud, African... Ernest Dükü. By creating a rich artistic world where symbolism and spirituality come together as one, Ernest Dükü aims to shed a new light on the arts from the Africa and the diaspora, as a way to develop our understanding and appreciation for their historic and aesthetic value as a whole. In the interview that follows, this accomplished artist shares his world with us, the world as he sees it and as he lives it, one where the quest for knowledge and truth shines through to enlighten us all . AD~ |