Seyni Awa Camara, born circa 1945 in Bignona, Senegal, is a renowned ceramicist whose artistic journey began with a mysterious divine initiation in her early years. Legend has it that, accompanied by her twin brothers, Seyni disappeared into the village forest for several days, laying the foundation for her unique connection to the spiritual realm.
Introduced to traditional pottery by her mother, Seyni not only learned the earthly techniques but also forged a deep, spiritual bond with her craft. This early communion set her on a path marked by an ethereal quality, as if her sculptures carry echoes of the mystical initiation that shaped her artistry.
In her village, Seyni Awa Camara has become a living legend, tirelessly shaping characters that breathe life into her cosmogony. The anthropologist Michèle Odéyé-Finzi recognized Seyni's brilliance in the 1980s, initiating a collection that propelled her onto the international art scene. Solo exhibitions showcased her sculptures, leading to widespread recognition and exhibitions in major Western art museums, , including the Centre Pompidou in 1989 in the legendary exhibition ‘Les magiciens de la Terre’, and the Biennale de Venise in 2001.
In 1989, Seyni made an ethereal debut at the Centre Georges Pompidou in Paris as part of in the legendary exhibition "Magiciens de la Terre." This marked a pivotal moment in her journey, unveiling sculptures seemingly imbued with the secrets whispered by the genies of God during her days in the sacred forest.
At 79, Seyni remains a mystic in contemporary art, crafting anthropomorphic clay sculptures exploring themes of maternity and sexuality. Embracing a sense of rarity in her creations, she produces fewer works over time, each carrying the otherworldly essence of her initiation. Interpreting the distorted faces of her creations as a response to ancestral indifference, Seyni elucidates the profound symbolism behind her works. For instance, when small monsters cling to a pregnant mother, it symbolizes a collective escape from the unknown, reminiscent of the mystical teachings she received in her youth. Reflecting on her creative process in Wolof, she states, "Damay science ma liguège," translating it as a process of thoughtful reflection, an idea in gestation, and a perpetual work in progress, echoing the whispers of the divine genies guiding her hands.
As Seyni continues to shape her sculptures, each piece becomes a testament to the enduring spirit of her artistic journey and the mystical whispers that linger from her divine initiation. Collectors have a rare opportunity to engage with the enchanted narratives woven into each meticulously crafted her totemic creations.