Openness to the world is omnipresent in his work. From the plastic and aesthetic research to the codes and messages to be deciphered, everything refers to the crossed views that he likes to elicit. He uses a variety of techniques, but paper remains his preferred medium. For example, he incorporates in his compositions newspaper advertisements for marabouts into his compositions. His use of Chinese or Japanese paper, which he crumples up completely, gives his works a unique texture and relief. His latest series on black Canson paper combines ink, acrylics, natural mediums and ancestral Akan signs.
Ernest Dükü’s work also has a socio-political dimension. For those who take the time to observe it, it is rooted in a highly topical debate that challenges religious syncretisms in order to transcend them. His art goes beyond religious quarrels and invites us to play the game of life, encouraging us all to question the unspoken things that clutter our memories.
In her work, textures, colours and signs intermingle. Traditional signs interact with Egyptian, Ethiopian, Caribbean, Christian and Islamic symbols to create a balanced, contemporary rhythm. With Ernest Dükü, it’s an open invitation to rebirth.
Ernest Dükü is a graduate of the École nationale des beaux-arts d’Abidjan (1982), the École nationale des arts décoratifs de Paris (Interior Architecture, 1986), the Université de Paris I Panthéon Sorbonne (DEA Esthétique et Science de l’art, 1990) and the École d’Architecture de Paris la Défense (Architecte DPLG, 1991).