About Mory Ouattarra



Mory is a proteiform artist. He is originally from Burkina Faso and works in Lyon mainly as
painter and sculptor.
As self-taught artist he discovers drawings thanks to primary-level school textbooks in his
small village Noumoudara in Burkina Faso. He makes his first drawings with pens, pieces
of chalks and paper that he manages to bring back from school. He improves his
techniques during adolescence notably through traditional Burkinabe techniques including
Batik (fabric printing technique) and Bogolan (technique that uses natural binders such as

tree bark, soil, etc.) and decides to make a living of it. He gains a national recognition in
2010 while creating the « Soleil galerie & design », a successful art gallery in Bobo
His talent come to the attention and in 2013 he obtains a scholarship to integrate the
international Mural Art school Ecohlcité based in Lyon.
Upon graduation, he works as an artistic mediator at Est Metropole Habitat amongst Lyon
deprived neighbourhoods and eventually decides to fully dedicate himself to his own
Conscious of the well-being that art brings to everyone’s life and looking forward to
transmitting and sharing, he decides in 2018 to initiate himself to art therapy with the aim
of proposing artistic workshops meanwhile continuing with his own creation.
In February 2019, Mory opens his own art gallery and workshop, Feux d’Artistes, in the
centre of Lyon city, where he devotes himself to painting, mural art, as well as sculpture
and provides classes in the visual arts.
Nowadays Mory is considered as one of the emerging artists of contemporary art. To be

Artistic process

Creation is above the notion of pleasure and passion, to Mory creation reaches a state of
vital necessity. He works as he lives: intuitively. Each piece of art is the moment of a new
experience: “It’s the moment when I let my unconscious flow, nourished by feelings,
emotions or convictions that are somewhere deep inside me”.

He does not plan a painting or a sculpture. Most of the time the process of creation begins
with an idea and then gradually settles down a kind of dancing fluid between the real and
the unreal, that he no longer masters.
His intentions are not to paint nice illustrative drawings. During the past 3 years, he says
he has “learned how to unlearn academic drawing” which he considers “too conventional
and intellectual”. “I constantly try to do things I do not know, to grasp the essentials in
humanity”. In fact, the human condition, as well as the living, is at the heart of Mory’s work:
“amongst all tools I use to paint, philosophy is the most relevant”.
Mory generally gives neither a title nor an explanatory discourse to his works, as he wants
the spectator to make his own experience, appropriating it to himself, appreciate it through
a look of his own.