Description: I painted "Kemet Incandescence" for the album cover of "Ancestral Devotion", the new CD by Jazz musician Lonnie Plaxico. The piece was inspired from Africa's ancient art that captures the spirituality of African culture, its reverence for the feminine principle and the sacredness of music. "KemetIncandescence" the poem can be read here. In experimenting with this different yet ancient genre of two dimensional art, I experienced such proximity to my roots, I plan to explore it more. Through this painting, I wanted to honor the sacred feminine as well as the origin of the spiritual tradition of Light now known as "Sufism".

Description: the visual landscape of this painting came from this poem I composed about the culture of egolessness, love and contemplation which magnifies the quality of our life, of our overall human experience. "Illumination at the Door" suggests enlightenment and the discovery of our inner beingness that always expands as it is an octave of the Reality the soul floats in... Striving for peace, concentration, humility, contentment and heart generosity causes our inner doors to open and when they do, nothing the world of illusion imposes even matters, because it immensely pales in comparison to our authentic Reality, this exquisite Reality that allows us to stand and exist in the fullness of the grace bestowed upon us by The Creator solely.

Description: "On the Edge of Union" came out of this poem. This painting evokes the intertwining of opposite poles, which sustained by Love, leads to blissful flowing with The Divine. On the painting, the opposite poles are expressed through the feminine and masculine principles: the left side of the piece symbolizes the feminine principle nurturing its sacred activities, the right side symbolizes the masculine principle's conscious protection of the feminine's sacred work that serves to sublimate life. The pull to such fusion manifests on all levels of existence, within the individual, without, in Nature and the Cosmos... Our potential for Harmony with the purest Reality lies in understanding the purpose of our polar opposites, without the repression of any of them for each has a specific role that enhances and gathers the other which eventually leads to Wholeness, to alignment with our Essence. Throughout history, the enlightened selfless souls who conveyed the divine Message to mankind existed "on the edge of Union", they encouraged us to cultivate our innate full potential. Once mankind learns anew to transcend materialism and to revere and balance out the activities of their opposite poles, the world will reflect more harmony, compassion, unity and peace inshAllah.  

Description: this piece was inspired from this poem. The "Veil" theme externally relates to the modesty of women, a custom that disturbs many materialists but which has been observed worldwide in many noble traditions for eons. Also there is a deeper meaning to the "Veil" theme here: unceasantly, the veils that conceal the mysteries of existence lift themselves for the soul to dance through and to revel in its pure state of bliss. The reverence of wise souls come from the beholding of this divine reality... In my maternal culture, "Marundu" is the name of a Princess which is in this context an allegory for the soul as it innately is royal due to its properties, attributes, origin and its capability to move beyond limits... this painting developed gently in a dreamlike way.  

Description: I started working on this painting during Ramadan. "Al Fattah: The Opener" is one of the 99 sacred names of The Creator who opens hearts to His Favor and Grace, He illuminates the Universe and our being with mercy and love. I painted this sacred Name as the "opening" theme is always relevent to being, creativity, prayer, breath, love and existence itself. To read the poem that goes with "Al Fattah: The Opener" painting click here.  

Description: "Sahelian Luminaries" was inspired from this poem, an hommage to all the West African Muslim saints, thinkers, sages, humble intellectuals and scientists whose work reflected the observance of Islamic values and whose struggle honored the Truth. These beings strove to preserve their divine rights, freedom, integrity, culture and native resources; for this reason they were exiled, persecuted, ridiculed and sometimes eliminated by usurping and colonialist forces in Africa. Simultaneously this painting is a spiritual metaphor for the glorious Songhaï Empire that flourished thanks to its foundation upon the Islamic universal principles of righteousness, knowledge, equality, wisdom, justice and thus love for The Divine Being.

In memory of: Askia Muhammad Touré, Ahmed Baba, Fodié Saréna Touré, Cidy Moktar Touré, Cheikh Amadou Bamba, Samory Touré, Dr Cheikh Anta Diop and my father Dr Abdoulaye Touré.   

Description: this painting denounces the mistreatment of grieving widows and children. Unfortunately this practice is rampant in many African countries. Ill-intended relatives and in-laws seem to rejoice when the head of the household passes away because for them it represents an opportunity to not only prey upon the deceased man's children and wife but also to scheme in order to embezzle whatever property the deceased owned and to steal the money the community donated for the deceased man's children. Often times these oppressed children and widows end up being homeless and destitute as a result of the persecution they endure at the hands of relatives. Working on this painting and going through its intensity was a profound experience for me because even though it depicts the harm ill-intended family members inflict upon helpless widows and orphans, it more so shows the triumph of Divine Mercy, Love and Justice. The Persecuted Widow poem can be read here.