Soly Cissé is a phenomenon of contemporary art, considered as one of the rising stars of his generation over the last few years.
He was born in 1969 in Dakar, Senegal, where he lives and works.
He was selected for the Biennales in Sao Paul (Brazil) in 1998, in Dakar and then in Havana in 2000.
In 2010, he was ordained Chevalier des Arts et des Lettres in France.
In 2008, a retrospective of his works was displayed by the Dakar Museum.
His first personal exhibition at the Galerie des Tuiliers happened in 2013.
In 2017 : Musée Dapper(Art afriacain) à Paris “Les mutantes”
“The Prism of Fauvist Colours”
SolyCissé would like to introduce us seamlessly to a magical world by way of a fiery voyage via his fertile imagination. But not, however, in the same manner as WifredoLam. Worrying or protective spirits and figures inhabit this world, where only syncopated movements can be glimpsed and where the colours hide the deities of a culture which is first and foremost a fantasy world but within which their presence is hinted at in the midst of an emerging chaos; at the exact point where thoughts retrieve information in order to confront unknown beings and things. Africa and its mirages are metamorphosed here into metaphors of the fractious state of visual art as chosen by SolyCissé. It is up to the artist to tell us whether the Dark Continent is the key to his personal adventure. Personally, I see it as the “L’Afrique fantôme’ from my reading, the films I have seen, or childhood dreams which occurred after leafing through an illustrated magazine.
The painter has a blatant need to provoke disharmony and painful tension: his paintings are not exactly easy. Balance is only established via a paradoxical situation: the more we penetrate his microcosm peopled with monsters, the more we are aware of the need for these great confrontations between the intense blues and strident, bitter yellows. It is only by slowly and patiently learning the codes and methods of his artistic language that harmony is slowly re-established and a fragile balance accommodated without ever obliterating the virulent and combative nature of his gestures and thoughts. This art, by definition so disturbing, as was Edouard Manet’s art in its time, proposes an initiatory journey where the unknown is frightening by definition. Let us consider these creations as we would give consideration to Pascal’s Wager. We are taking a gamble in the world of painting: leaping into the unknown to feel the matter, outlines, planes, beings, contrapositions, rifts, matings and wild cries which combine to generate an exotic paradise, presented as a dangerous yet seductive place, radically different to the forest invented by the Douanier Rousseau…» Gérard-Georges Lemaire