Sambo BOLY is a Fulani born in 1960 in Burkina Faso. He did his apprenticeship in plastic arts at the National Center for Arts and Crafts (CNAA) in Ouagadougou. On the booming art scene of this city, he developed a technique inspired by the colors of the Sahel. Excerpts from the book by Stéphane ELIARD “Contemporary art in Burkina Faso” Editions L’Harmattan (…) The world of Sambo Boly is that of tradition, but by his sometimes critical distance, by his freedom of tone and the originality of his plastic language, he gives his works a scope that is out of step with the frame. (…) Formally his painting belongs only to him and, contrary to what generally happens – especially in the field of abstraction – it is impossible to find in Burkina Faso an artist who could have influenced the work of Sambo Boly, or even be influenced by him. (…) The work of Sambo Boly may seem coded and inaccessible to the foreign amateur. But its success provides proof that by going through particularism, even the anecdotal, it actually raises very general questions that agitate the minds of people in Fulani villages as much as in the major Western capitals.
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Categories: contemporary burkinabe artists.
Artistic domains:
Painting.
Artist represented by Galerie SAGA.
Account type:
Artist,
member since 2018 (Country of origin Burkina Faso).
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Represented by a gallery
The artist is officially represented by a gallery
Biography
Sambo BOLY is a Fulani born in 1960 in Burkina Faso. He did his apprenticeship in plastic arts at the National Center for Arts and Crafts (CNAA) in Ouagadougou. On the booming art scene of this city, he developed a technique inspired by the colors of the Sahel. Excerpts from the book by Stéphane ELIARD “Contemporary art in Burkina Faso” Editions L’Harmattan (…) The world of Sambo Boly is that of tradition, but by his sometimes critical distance, by his freedom of tone and the originality of his plastic language, he gives his works a scope that is out of step with the frame. (…) Formally his painting belongs only to him and, contrary to what generally happens – especially in the field of abstraction – it is impossible to find in Burkina Faso an artist who could have influenced the work of Sambo Boly, or even be influenced by him. (…) The work of Sambo Boly may seem coded and inaccessible to the foreign amateur. But its success provides proof that by going through particularism, even the anecdotal, it actually raises very general questions that agitate the minds of people in Fulani villages as much as in the major Western capitals.
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