Aboudia
Abdoulaye Diarrassouba | |
|---|---|
| Born | Abdoulaye Diarrassouba October 21, 1983 Ivory Coast |
| Other names | Aboudia |
| Occupation | Contemporary artist |
| Years active | 1998–present |
| Known for | Contemporary African art, "nouchi" technique |
| Notable work | Assassin |
Abdoulaye Diarrassouba, who is also recognized by the name Aboudia, is a contemporary artist from Ivory Coast currently residing in Brooklyn, New York. He maintains active studios in both Abidjan and New York City.
Biography
Born on October 21, 1983, in Ivory Coast, Abdoulaye completed his studies at the School of Applied Arts in Bingerville in 2003, followed by graduation from the Institut des Arts in Abidjan in 2005. His international profile rose notably during the 2011 siege of Abidjan when conflict approached his workspace. His artwork has been displayed internationally, including exhibitions in Basel, Miami, New York, Singapore, and at Art Central in Hong Kong. Solo exhibitions have been held in cities such as New York, London, Barcelona, and Copenhagen. In 2012, he partnered with Ivorian artist Frédéric Bruly Bouabré to create a distinctive collection shown in Abidjan. Later, in 2017, Abdoulaye collaborated with British painter Christian Furr across locations including New York, London, and Abidjan.
Career
Beginning at age 15, Abdoulaye pursued an independent artistic path after being expelled from his home due to his choice of profession. Supported financially by his mother’s savings and demonstrating strong academic performance, he devoted himself entirely to art. Between 2007 and 2008, he attempted to secure gallery representation within Bingerville and Abidjan but encountered rejection and critique. Eventually, international collectors such as ambassadors and foreign gallery proprietors began acquiring his pieces.
In the aftermath of the contested 2010 Ivorian presidential election and subsequent unrest, Abdoulaye created 21 expansive canvases that depicted the conflict’s intensity. Although local galleries hesitated to represent his innovative style, his work was shown at Galerie Cécile Fakhoury in Abidjan (2012, 2014) along with exhibitions throughout Europe and North America. Prominent collectors including Charles Saatchi, Jean Pigozzi, and Frank Cohen have purchased his art. His technique merges American avant-garde influences with indigenous graffiti elements, often drawing parallels to Jean-Michel Basquiat for its fusion of African and Western cultural motifs.
During the civil war period, Abdoulaye chose to remain in Abidjan despite the risks, painting scenes inspired both by firsthand experience and media coverage. He characterizes this body of work as "nouchi," highlighting its rawness and minimalistic approach. His dedication to capturing Côte d'Ivoire’s recent history through art sets him apart from traditional 'war painters.' After the conflict subsided, he revisited themes centered on childhood street experiences, poverty, and child soldiers.
Utilizing his success, Abdoulaye established a cultural center and foundation in Bingerville aimed at providing healthcare and educational opportunities for street children. He perceives art as a means to explore social challenges and champions peace alongside support for vulnerable groups. Reflecting on this mission, he asks, "Why can't we make peace and choose to assist those who are sleeping on the streets if we can make war?"
In auction settings, Abdoulaye’s works have exceeded pre-sale expectations but generally fetch lower prices compared to Modern art peers; for instance, four artworks have sold for up to £30,000 inclusive of fees. His perseverance during times of conflict combined with an expanding global market presence highlight his importance within the sphere of contemporary African art.
Style
Aboudia’s creations are characterized by vibrant urban landscapes and street scenes populated with childlike figures, rendered in his unique graffiti-inspired "nouchi" technique. The piece titled Assassin serves as a prime example, combining oil sticks, acrylic paint, and collage elements with vivid color strokes layered atop newspaper and magazine clippings. These components merge to form striking visuals that comment on contemporary issues through inventive imagery.
His artworks feature multiple layers incorporating snippets from comics, advertisements, and news photographs, fostering an engaging dialogue both within the piece and between the artwork and its audience. This method communicates intricate social stories through a raw, compelling perspective.
Aboudia’s artistic approach transitioned from traditional academic roots to one influenced by the spontaneous markings found on city walls. Early in his career, he concentrated on mural art that documented simple charcoal sketches by young people—depicting items such as cars, televisions, symbols of status, and messages—emphasizing themes of childhood exclusion and societal disregard.