In N’Terini (The Childhood Friend), Opa Bathily reflects on memory and quiet companionship through layered painted fabric fragments. The two figures, standing side by side, suggest a bond shaped by shared history and unspoken understanding, balancing intimacy with subtle distance.

In On the Way Back from the Market, Opa Bathily depicts three women returning from the market, their woven baskets marking the rhythm of daily labour and shared routine. Through layered colour and textured surfaces, the work evokes vitality, solidarity, and the quiet dignity of everyday life.

In Forever Accomplices, Opa Bathily presents three closely gathered figures whose gestures suggest intimacy and enduring loyalty. The layered fragments and tonal contrasts create a textured surface that reflects shared experience and collective presence.

In Dance and Rhythm, Opa Bathily portrays a musician and a dancer engaged in a moment of exchange shaped by movement and sound. Through vibrant colour and layered composition, the work conveys rhythm as both structure and lived expression.

In Dakar No. 1, Ibou Diagne portrays the movement and density of urban life through a panoramic view of buses and market stalls in constant circulation. The layered brushwork and vibrant chromatic contrasts evoke the rhythm, congestion, and vitality that define the city’s everyday pulse.

In Rotti, Ibou Diagne depicts a group of women gathered in shallow water, their gestures suggesting labour shaped by routine and collective presence. Through fluid brushwork and vibrant tonal contrasts, the composition evokes movement, reflection, and the rhythmic cadence of shared activity.

In Hope, Ibou Diagne portrays a group of women moving forward together, their upright postures suggesting quiet strength and collective resilience. Through layered brushwork and luminous chromatic contrasts, the composition evokes dignity, solidarity, and the enduring presence of optimism within shared experience.

In Fishing Pier, Ibou Diagne depicts the activity of a coastal landing site where boats, vendors, and fishermen converge in continuous movement. Through luminous colour and gestural brushwork, the composition evokes the rhythm of labour and the collective energy shaping the shoreline.

In Untitled, Vincent Isambourg presents a portrait of an African woman rendered through expressive brushwork and layered tonal contrasts. The textured surface and fluid application of oil paint emphasise presence and interiority, allowing emotion to emerge through material intensity rather than narrative detail.

In Blue, Vincent Isambourg presents a portrait of an African woman immersed in a field of deep tonal intensity. Through layered oil paint and expressive brushwork, the composition emphasises presence and psychological depth, allowing colour to shape both form and emotional resonance.

In The Colours of the Soul, Vincent Isambourg presents a portrait of an African woman shaped through bold chromatic contrasts and gestural application of oil paint. The layered surface allows colour to articulate emotion and interior presence, dissolving precise contours in favour of expressive intensity.

In A Sunday in Marlodj, Vincent Isambourg presents a group portrait of African women rendered through expressive brushwork and layered tonal contrasts. The fluid application of oil paint softens defined contours, allowing presence and collective intensity to emerge through colour and material gesture.

In Red, Vincent Isambourg presents a portrait of an African woman shaped by intense chromatic contrasts and gestural layers of oil paint. The dominance of red tones heightens emotional presence, while the textured surface allows expression to emerge through colour and material force.

In The Blessed Child, Kalidou Kassé presents a vertical composition structured around elongated figures rendered in symbolic stillness. Through simplified forms and a restrained chromatic field, the work evokes spiritual presence and generational continuity within a ceremonial atmosphere.