Sylvain Sankalé, a 64-year-old lawyer and business consultant, shares his art journey with Dakartnews. With roots in Senegal, Mali, France, England, and the Caribbean, Sylvain grew up attending art exhibitions. He became a curator at 21 and led the Dakar Biennale in 2000. Owning hundreds of African artworks, he reflects, in this interview, on his passion for art and the Senegalese art scene.
What motivates you to collect works by Senegalese artists?
I never buy a signature; I buy an artwork because I want to live with it. It’s the pleasure I feel when I see them.
Among the works you own, is there one that has evoked a stronger emotional reaction than others?
There is the emotional side of the works, of course, but there is also the emotional side of works that have been gifted to me by artists. When Ndary Lô, on his hospital bed, chose to give me certain pieces, it’s a memory I can never forget.
What importance do collectors have in preserving contemporary art in Senegal?
Buying works allows artists to make a living. It keeps the works in Senegal, while many are sold abroad. It’s good that some people sacrifice part of their income to preserve these objects here.
The interest in contemporary African art seems to be growing. What about African collectors, specifically Senegalese collectors?
There are several obstacles, primarily economic ones. Not everyone can afford to buy art. Additionally, Islamic beliefs can discourage the representation of living beings in art. This may explain why many artists in Senegal turn to abstraction.
You have been immersed in this world since childhood. Can you talk about the evolution of the Senegalese art scene?
24 years ago, when I was president of the Dakar Biennale of Contemporary African Art, there was criticism that the Biennale showed African artists who did not make ‘African’ art. Today, we no longer have this concern. An artist is an artist, and that’s all that matters. The artistic creation is much more open and free now than it was in the past.
What are the main challenges faced by Senegalese artists today?
The main problem is that if a child says they want to become an artist, they are discouraged from pursuing that idea. It’s not systematic, but it’s relatively common.
Can you say a word about the role galleries play in promoting contemporary artists in Senegal?
Their role is fundamental. An artist is not a merchant. A good gallery owner knows how to promote their artists and find collectors and buyers. We have a new generation of gallery owners in Senegal who have done honest work for decades.
After decades of accumulating artworks, what advice would you give to a young person who wants to start collecting art?
Always have an original piece by a small artist rather than a copy of a great work by a famous artist. Specialize to create a coherent collection. Don’t let others decide for you—choose works that resonate with you personally.”
How many artworks are in your personal collection?
I have both classical African art and contemporary pieces, amounting to several hundred. I don’t accumulate for speculation or to count the number of pieces. I follow my heart, and if I can afford it, I indulge.
The long version of the interview is available in French and is accessible here —> Rencontre avec Sylvain Sankalé : Un voyage au cœur de la scène artistique sénégalaise
Bridging Africa and The World Through Contemporary Art 
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