Daffa Konaté, the curator who wants you to trust your own eye

Daffa Konaté founded Art Kelen — an online gallery dedicated to contemporary African art — with a simple conviction: that hesitation, not lack of interest, is what keeps people from collecting. Based in Dubai, she has spent years developing a curatorial eye drawn to objects that carry memory and meaning — work where you can feel the hand, the cultural reference, and the story without the piece feeling frozen in the past. We spoke to her about what she selects and why, what holds new collectors back, and how confidence is built, one object and one question at a time.

When you look across the works you select for Art Kelen, what kinds of objects do you find yourself drawn to again and again — and which artists or practices do you think deserve much more attention?

In visual art and painting, I find myself consistently drawn to portraits of women. Women who feel strong, powerful, resilient, yet also graceful. I don’t always try to explain why, there is something instinctive about it. These portraits speak to me, inspire me, and create a deep emotional resonance.

Artists such as Hakim Idriss, whose work is deeply influenced by his Comorian roots, or Reggie Khumalo, whose practice is strongly inspired by the resilience and inner strength of women, are artists I return to often. Their portraits are not about idealization, but about presence, about what the figure embodies.

I am also very moved by the work of Baba Ly, whose female portraits deliberately avoid facial features such as eyes, noses, or mouths. And yet, despite this absence, these works are deeply expressive. They carry emotion, dignity, and identity without relying on direct representation. This abstraction leaves space for projection, feeling, and contemplation.

Beyond painting, I am particularly sensitive to objects that tell stories, objects inspired by tradition but expressed through a contemporary language. I’m drawn to materials that carry memory and meaning: wood, textiles, clay, mixed media. Objects where you can feel the hand, the gesture, and the cultural references, without the piece feeling frozen in the past.

These practices deserve much more attention because they sit at the intersection of heritage and modern expression. They challenge rigid categories between art and object, tradition and contemporaneity. They invite a slower way of looking, and a deeper, more emotional form of connection.

Which artists, materials, or practices featured on Art Kelen do you think deserve much more attention and why?

Painting has naturally been very present on Art Kelen. I have highlighted many painters, men and women, working across different approaches, from figurative to abstract practices.

Painting often acts as an entry point: it is familiar, accessible, and helps initiate conversations around contemporary African art. That said, I strongly believe that designers and makers deserve much more visibility and recognition.

There are incredibly talented creatives whose work sits at the intersection of design, craftsmanship, and artistic expression. Artists like Khalifa Saran Keita, founder of Khalifa Home, are essential voices to highlight. She is a passionate creator, deeply rooted in African aesthetics and vibrant color palettes. An artisan at heart, she draws inspiration from nature and has developed a sculptural practice centered around papier-mâché. Her pieces are tactile, expressive, and deeply connected to organic forms and living environments.

Another practice that deserves far more attention is Massata Niang, creator of Retbaa. Retbaa brings together African raw materials and Parisian savoir-faire through candles, spices, and chocolate. Each creation tells a story, one that honors African heritage while inviting the senses into a contemporary, immersive experience.

These practices matter because they expand our understanding of what contemporary African creativity can be. They blur the boundaries between art, design, and everyday objects, and they remind us that creativity is not only something to look at, but something to live with, touch, smell, and experience.

Giving more space to designers and makers is not about moving away from art, it’s about broadening the narrative and acknowledging the richness and diversity of African creative expressions today.

Is there a type of work people are curious about but often hesitate to live with or collect? What do you think holds them back?

Yes many people are genuinely curious about contemporary African art, but hesitation often appears at the moment of commitment. Not because of a lack of interest, but because of uncertainty.

One situation I encounter quite often is around value. Recently, someone expressed strong interest in acquiring two works by an artist I deeply respect. Yet the conversation quickly shifted toward heavy negotiation. From the artist’s perspective, this felt like a form of devaluation and I fully understood and supported that position. Sometimes, the hesitation isn’t about affordability alone, but about how people perceive the value of African artists’ work, and whether they feel entitled to negotiate in ways they wouldn’t elsewhere.

Another example came from a man who contacted me via LinkedIn. He told me he had just started becoming interested in art and wanted to buy his first painting but he didn’t know where to begin or how to approach collecting. His curiosity was real, but what held him back was the fear of making the “wrong” choice, or not having enough knowledge.

In both cases, what stands in the way is not desire, but confidence. Collecting still feels intimidating to many people, especially when it comes to African art, which is often surrounded by assumptions, gaps in education, or lack of accessible guidance.

That’s exactly why I created my guide, African Art Today: Discovering and Collecting. Not to tell people what to buy, but to help them understand, feel legitimate in their curiosity, and trust their own eyes.

Ultimately, people hesitate when they feel they don’t have permission, permission to ask questions, to take their time, and to start where they are. My role is often to help remove that fear, and to make collecting feel like a conversation, not a test.

When you introduce someone to an object or a maker, what helps them connect, and what gets in the way?

What truly helps people connect is the story behind the work. Taking the time to speak about the artist, their journey, their inspirations, their questions, and the context in which the work was created. For me, this part is essential. I’m genuinely involved in the artists I work with; it’s never just about placing an object or making a sale.

When people understand who made the work and why, the object becomes more than something to look at, it becomes something to relate to. That human dimension creates trust, emotion, and curiosity, and it allows the connection to happen naturally.

Are there any types of work in African art and objects you think are still overlooked or underrepresented?

Practices that sit between art, craft, and everyday use are still often overlooked. Functional objects, small-scale works, textiles, ceramics, or pieces linked to domestic or ritual life are frequently viewed through a decorative or ethnographic lens, rather than as contemporary creative expressions.

I also think many practices traditionally carried by women remain underrepresented, despite their importance in transmission, storytelling, and innovation. Broadening how we look at African art means making space for these forms, without forcing them into rigid hierarchies.

If someone wants to develop a more confident eye for African art and objects, what’s one thing that has genuinely helped you over time?

What has genuinely helped me is staying curious. Taking the time to understand the artist behind the work, their journey, intentions, and creative process while also continuously following new artists, exhibitions, and the evolving dynamics of the contemporary African art scene.

Spending time with works, asking questions, and remaining open to discovery has been essential. Confidence doesn’t come from knowing everything, but from being engaged, attentive, and willing to learn over time.

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