Siriki KY

There is always in the work of KY SIRIKI, a pronounced emblematic slope, which refers to its African origins, conveying the traces of a millennial culture to which, often outrageously, many of the Western artists drew.

Although spending most of his time in Paris, so at the end of the last surf of the art of his time, KY Siriki is so emotionally and biologically imbued with his native land that he never gave up integrating it into the twists of his Course. And this, without choice in illustration or exotic sentimentality, but with a wide variety of approach and imagination that characterize the liberation of his identity, away from inopportune mimetisms. By the expressiveness of his transformation, his art sometimes appears rather barbaric, sometimes erases the anecdote, sometimes dilates in the heart of the roots buried in his mythology, which is jointly that of the history of his people, which he manages to make Relive the essence. Fragments of coloured squares, decorative motifs, anthropomorphic reliefs, twisted wood barely retouched, nimbed with a mysterious signage or bloated cloth, allusive torsos in gold metal with corroded epiderms, Totem columns in the form of vase or facies rigorously works, chaning a hymn to man and to life. A life that he wishes to formulate in the raw state, with his original attributes sunk in the incessant metamorphoses of his themes. On the margins of any imitative slope, it is therefore the natural force emitted by its structures and their testimonial content, the synthesis of their contrasting forms and their simplified distribution to the extreme the complementarity of the smallest constituent accidents of the surface and the hieratic breath of the frames which give the work both intimist and monumental of KY Siriki, the efficiency of its sequencing and its sublimatoire power.

Art critic