Fanny is a visual artist, researcher, and curator whose interdisciplinary practice explores the realm of the sensorial, where poetry, symbolism, and introspection converge. Holding an M.A. in Communication, she devoted her research to the women artists of the Black Arts Movement, drawing on bell hooks’ concept of the oppositional gaze. This theoretical framework continues to inform her reading of images, signs, and narratives, and shapes her creative approach.

Based between Dakar (Senegal) and Ottawa (Canada), Fanny develops a figurative body of work that engages our senses through drawing, painting, collage, sculpture, and installations. Her visual language rests on a system of often image-based symbols. She plays with perception, analogy, and movement to craft images that oscillate between reality and a parallel world, like fragments of dreams.

Her approach is profoundly introspective: she questions life, its mysteries, buried emotions, and the ways in which the intellect constructs meaning. Her works—described as “weapons” in The Fulcrum (2022)—function above all as emotional mirrors, a “network of emotions […] through a festival of colors and forms” (Le Soleil, 2023). Her brushstrokes, which “reflect the mysteries and beauties of life” (Le Soleil, 2023), translate her deepest thoughts (ONFR+, 2023).

This practice, both sensitive and conceptual, reflects her plural identity and multidisciplinary path. It stems from a clear desire to help make the world “brighter and more beautiful” (Le Soleil, 2023), while questioning it with lucidity.

Fanny is currently pursuing her artistic and curatorial research through Tapisserie des mémoires, an independent art journal she directs. This publication explores how art weaves itself into the everyday lives, dreams, and memories of women artists, curators, collectors, and art enthusiasts, offering a collective reflection and experience on memory, transmission, and women’s creative practices in the Global South.