Since currents have taken over the discourse of rooting and openness, several forms of expression have tried to unleash the creativity of African artists confronted with modernity.
This challenge is above all that of young people who claim their time. A time when new technologies reduced the world to a global village; where cultures no longer have borders, and the senses become sacred sources of inspiration.
It is in this unity of time and place that Dou invests himself every day to invite his contemporaries to follow him in his struggle for the liberation of the imaginary.
To do this, the artist, the bearer of visions, questions space and time, then sky, earth, minerals and materials to translate their existential force.
In his works, the earth tones of the origins dominate, the suggestion of signs that refer to esotericism and then the frame, like an enclosure that participates in the environment where time and space are mutually exclusive. Activist for integration and African renaissance, Dou explores the world of tears and gaping wounds, like that of wounds in an attempt to sew them up. We must work to unite fabrics and courts as nations in a world riddled with structural violence. Thus the web which has become a relational organ is lifted and sewn back together like the skin of a part of this continent that does not stop suffering.
By using the frame as a structural element of the canvas, the expression crosses conventions and rules and summons dimensions that embrace the imaginary. The materials are articulated and the colors intertwine, send us back to the stage, where thought becomes one with matter, to bring beyond schools and trends a form of conceptual expression, derived from the primitive arts.
In this dynamic, he is one of this new generation of artist-designers who do not claim rootedness and openness like their elders, but anchoring and transcendence. In doing so, the artist participates in the interpenetrations of a multidimensional world where art no longer has borders.

Ibrahima NJAAY