Tidiane Ndongo

Kissè (The Point), 2023 Clay and Plant on Velvet, 140 x 125 cm

The word kissè in Bambara means tomi, “the point,” and evokes the infinitely small, like the atom. Although women, the custodians of bogolan knowledge, rarely mention this symbol, it has inspired me since the beginning of my journey in this art. Through this piece, I question the condition of women, often relegated to a secondary position in society, a reality that deeply disturbs me, as I advocate for balance between men and women. The kissè also subtly refers to feminine intimacy, while symbolizing the importance of small yet essential elements, like ants or bees, which are pillars of our ecosystem. In revealed religions, women are often placed second, as if coming after men. But who truly comes from whom? Is it us who come from women, or women who come from us? This question of origin and gender balance is at the heart of my artistic reflection, as kissè also represents the idea of both beginning and end.

Sin Bara (Breasts), 2022, Clay and plant on cotton, 160 x 145 cm

Sin means "breast" and Bara means "box" in Bambara. Together, Sin Bara literally translates to "breast box." This piece follows the same line of questioning I began with Kissè, exploring the condition of women and their place in society. We were all nurtured at our mother’s breast, the ultimate symbol of nourishment. The breast embodies gentleness and tenderness, and remains an object of desire for men. Even after leaving childhood, men are often drawn to this symbol. Through this work, I highlight the omnipresence of women and suggest that we revisit their role so that they may fully occupy the important place they deserve in society.

Nyêshi (Eyebrows), 2023, Clay and plant on cotton, 120 x 130 cm

Nyêshi, which means "eyebrows" in Bambara, is composed of "Nye," meaning "eye," and "shi," which refers to "hairs" but also symbolizes longevity. In Mali, the expression "Shi Bé Karsala" is used to wish someone a long life. It is from this saying that I created this piece. In this work, the eyebrows are represented in a way that delicately evokes femininity and creation. The silhouettes remind us of softness and protection, while also suggesting a space of life and potential. Women are like the eyebrows of the world; the world is beautiful when adorned with eyebrows. When we pull on an eyebrow, we hurt ourselves. It is not the eyebrows we harm, but ourselves. Thus, to attack women is to attack society and the world.

Fla Mousso (Peul Woman), 2023, Clay and plant on cotton, 165 x 35 cm

The Peuls hold a central place in Mali and Africa. If the different ethnic groups in Mali were a fabric, Peul women would be the threads that sew and unite each part. This artwork is a tribute to these nomadic women, and particularly to Peul women. Through their travels, they weave connections, bringing communities together. For instance, among the Dogons, the diversity of dialects is such that some cannot always understand each other. In those moments, they communicate in Peul, their common language. Through this painting, I pay homage to the unifying spirit of the Peuls and to these women who embody cultural transmission. Moreover, as my father is Peul, this work holds a personal significance for me.

Miri (Reflection), 2024, Clay and plant on cotton, 215 x 126 cm

Miri means "reflection" in Bambara. Through my work, I aim to raise collective awareness about the sociopolitical situation in Mali, and beyond, across Africa. Although the methods of the current leaders, particularly the military, are not universally accepted, there is a shared hope among the people. I seek to encourage everyone to reflect on sustainable solutions that can unite us in the pursuit of a better future.

Donda Ba (The Great Door), 2024, Clay and plant on cotton, 205 x 125 cm

Donda Ba symbolizes the concept of power, represented by a "great entrance door," a metaphor for entering and exiting with honor, particularly in the political realm. I connected this idea to the figure of Nelson Mandela, as he entered and exited politics through the great door. He embodies the values of honor and respect that I seek to convey through this work. The overlapping patterns on this door signify that power must be exercised with dignity. Donda Ba pays tribute not only to Mandela but also to all figures of authority who wield their power with integrity and respect, qualities that are unfortunately all too rare today.

Bourou Kèlè (Trumpet Disputes), 2024, Clay and plant on cotton, 135 x 225 cm

Bourou Kèlè, which means "Trumpet Disputes," expresses the general discontent with the current state of the world. Through this creation, I aim to shed light on the complex dynamics behind the decisions made by the United Nations and the global financial system. The emergence of the BRICS brings a new voice, offering an alternative where each actor defends their own vision and interests. This reality is also reflected at the sub-regional level, particularly with the creation of the Alliance of Sahel States (AES), which stands in contrast to ECOWAS, the Economic Community of West African States.

Lampedusa, 2024, Clay and plant on cotton, 140 x 260 cm

Lampedusa is a work that reflects the tragedy experienced by thousands of desperate young people, particularly Africans, forced to risk their lives crossing the Mediterranean to reach Europe. Watching these young people leave, with no future in their homeland, is profoundly sad. They leave everything behind, ready to face the sea, often at the cost of their lives, because back home, opportunities are non-existent. Yet, we have all the resources needed to improve things. But our leaders are not doing their job, and it is this neglect that drives the youth to "suicide in the water." This piece is both a cry of distress and a call to action for this situation to change.

Klé Koro (Under the Sun), 2024, Clay and plants on cotton, 155 x 130 cm

This piece is a tribute to those who do small, informal jobs under the scorching sun to support their families. These jobs are often not recognized as legitimate work, yet they provide sustenance for entire households. I think of the traders in urban centers across the country, especially the women who gather deadwood to sell, constantly exposed to the sun. It’s a difficult, often overlooked reality. Through my work, I aim to bring visibility to these struggles and highlight their resilience.

Bê ni Ta (To each their own), 2023, Clay and plant on cotton, 145 x 100 cm

This artwork embodies a wish I express for everyone. The title "Talé," a song by Salif Keita, deeply inspired the creation of this canvas. In this song, Salif Keita questions each person's destiny while expressing a desire for the best for all. I fully embrace this aspiration, which I convey through this piece, celebrating dignity, respect for differences, and individual journeys.

Nyogomê (The dromedary), 2024, Clay and plants on cotton, 140x125 cm

The dromedary is a symbol of mutual understanding. Nyogomê indeed refers to the dromedary, but in Bambara, it also means "mutual understanding." It is very important for me to remind people of this meaning, as it is often forgotten, even among Bambara speakers. Nyogomê thus highlights the importance of cooperation and listening between individuals in building a harmonious society.

MANDI Series: Tié Dourou (Five men), Clay and plant on cotton, 100 x 120 cm

One of my life philosophies is that humans are a mixture of flaws and qualities, exhibited according to circumstances. It is from this reflection that I question the term Mandi, which in Bambara means both "beloved" and "it is not good." This duality evokes the complexity that resides in us. Perfection is not specific to humans; we cannot be tall and short, or fat and thin, simultaneously. However, we can embody one or the other at different times in our lives. In a collective, each individual is a complement to the group. I wish to convey the idea that perfection is unattainable and that alternation is an integral part of our existence. It is a call to embrace moderation and humility in our interactions.

MANDI Series: Youroukou (Corruption), 2024, Clay and plant on cotton, 60 x 60 cm

MANDI Series: Sounkoro (At the source), 2024, Clay and plant on cotton, 60 x 65 cm

MANDI Series: Boli (Fetish), 2024, Clay and plant on cotton, 60 x 60 cm

MANDI Series: Cêkê (The eagle), 2024, Clay and plant on cotton, 60 x 60 cm

Tidiane Ndongo, born in 1970 in Bamako, Mali, is an artist who has mastered the traditional Bogolan (mudcloth) technique. In 1994, he learned this art form under Youssouf Sidibé Nelly in Bamako-Coura, a lively neighborhood in Mali’s capital. Bogolan, a technique using clay, plants, and roots, became more than just a craft for Tidiane - it was a gateway to Mali’s rich heritage.

Tidiane’s work is deeply influenced by the research of the late Youssouf Tata Cissé, a renowned scholar of Malian myths and legends. Inspired by Cissé, Tidiane developed his own style, Dogodogoni, meaning “labyrinth” in Bambara. His geometric patterns represent more than visual elements; they conceal histories, traditions, and the complexity of civilization. For Tidiane, Dogodogoni is like a chameleon, symbolizing change, reflection, and adaptation. A lover of sacred texts, Tidiane often incorporates writings into his canvases, blending word and image. His guiding principle is: “To know myself, to be myself, for myself.” Far from selfishness, Tidiane sees this self-awareness as a path to personal growth and openness to others.

Tidiane is convinced that humans are a mix of flaws and qualities, which they display according to circumstances. His work continuously develops this conviction, aiming to make it universal and timeless. This conviction informs his work, which seeks to convey universal and timeless truths. By revisiting the signs and motifs of bogolan, Tidiane unveils a labyrinth of meanings. Each path leads to a deeper understanding of contemporary issues while preserving the richness of this ancient cultural heritage.

Watch a short video about Tidiane Ndongo and his artwork

For further information:

-Bogolan and Ndongo’s Contemporary Vision (PDF)

-“The Mask” - Unveiling the Labyrinth of Tidiane Ndongo’s Bogolan Art