ARMAND BOUA: Manawa

 MANAWA

At 46 years of age, artist Armand Boua finds himself at the pinnacle of his artistic maturity, a truth eloquently reflected in his oeuvre. My acquaintance with - and admiration for - his work began when I curated his pieces for the prestigious international exhibition, the Dakar Biennale of Contemporary African Art, known as DAK'ART 2010. Though previously unacquainted, Boua's artistic proposition immediately captivated me.

Born in Abidjan in 1978, a graduate of the National School of Fine Arts of Abidjan and the Technical Center of Applied Arts (CTAA) in Bingerville, Armand Boua has since crafted a remarkable career, both domestically and on the global stage.

In recent years, Boua has been showcased individually at renowned venues such as the Jack Bell Gallery (London) in 2018, 2019, and 2020; Lars Kristian Bode Gallery (Hamburg) in 2018; Galerie Cécile Fakhoury (Dakar and Abidjan) in 2018 and 2019; Ethan Cohen Gallery (New York) in 2021 and 2022; and the Montresso Foundation (Morocco) in 2021 and 2023.

Over the past five years, he has participated in collective exhibitions across various countries including Norway, Morocco, the United States, the United Kingdom, Côte d'Ivoire, Italy, Senegal, and Switzerland.

Boua's work has been notably selected for the Dakar Biennale in 2010 and 2022, as well as the Venice Biennale in 2022. His pieces find residence in prestigious collections worldwide, including the Minneapolis Institute of Art, the Mohammed VI Museum of Modern and Contemporary Art in Rabat, Morocco, the Saatchi Gallery in the UK, the Fraries Suss Collection in Hong Kong, the Trioche Deleon Collection in Israel, the Montresso Foundation in Morocco, and numerous private collections globally.

Primarily a painter, Boua's artistic exploration remains firmly within the realm of visual arts. While his technique has evolved over time, the essence remains rooted in painting on cardboard with acrylic, then scraping and tearing, followed by repainting, and finally, mounting on canvas. The resultant effect evokes the weathered walls of urban landscapes, where layers of paint and torn posters bear witness to the passage of time. Utilizing acrylic paint and various forms of tar to accentuate his strokes, Boua imbues his works with a distinctive allure, unmistakable and singular in its identity.

This inherently "urban" technique aptly complements the artist's principal thematic focus - the youth of cities, in all their forms and circumstances. Boua's art is fundamentally human-centric, exclusively figurative yet liberally divergent from literal representation, allowing for partial abstraction. This nuanced approach defies categorization, affording the artist a realm of creative freedom where sentiment and perception intertwine with the fleeting moods of the day, a realm he navigates with masterful dexterity.

Boua, like many of us, is attuned to the plight of street children navigating our urban landscapes in search of sustenance, shelter, and protection from the elements. Often overlooked, these marginalized figures have become ingrained in the fabric of our societal consciousness, shielding us from confronting our own moral culpability. Boua, however, endeavors to grant them visibility.

While some may dismiss this as a passing trend within the African artistic landscape, prevalent even in Côte d'Ivoire, Boua's ambition transcends mere commentary. Amidst burgeoning urban populations and the strains of rural exodus, a demographic swath comprising youths bereft of qualifications or direction struggles to eke out a living amidst morally and physically perilous environments.

A portion of society falls into the grasp of delinquency, perpetuating narratives entwined with petty crime and substance abuse. Yet, can we, with clear conscience, pass judgment upon them? Conversely, there exists another segment, perhaps comprised of the very same individuals, straddling a precarious line, who strive to carve out an honorable existence through humble occupations - be it as car washers, shoe shiners, apprentice drivers of public transport, or engaging in other laborious vocations that provide sustenance, if not societal recognition.

In this compelling series of works, Boua illuminates the lives of those colloquially referred to as "MANAWA" in Abidjan, a term likely derived from the French word "manœuvre (maneuver)," indicating laborers who tirelessly exert themselves on construction sites, dutifully executing tasks ranging from hauling sacks of cement to mixing concrete and erecting scaffolding.

Across canvases of varied dimensions, Boua employs bold splashes of color to invigorate the otherwise mundane backdrop of beige and the darkness of tar, portraying these apprentices in their natural habitat. While the imagery remains somewhat abstract, it manages to evoke the familiar landscapes that surround us, yet often escape our true attention. The fervor and adversity of their labor are palpable, even in their mere suggestion, inviting viewers to reflect upon the unseen struggles that underpin our urban environments.

Boua's virtuosity lies in his ability to suggestively convey the stark realities of labor, eliciting both empathy and introspection. No longer shall we witness a "MANAWA" on a construction site without immediately pondering their plight and feeling a pang of compassion. Yet, such compassion must catalyze action. The artist has fulfilled his role in this struggle.

It is now our turn to fulfill ours.

Sylvain Sankalé
Art Critic
Dakar, Senegal