"The work of Ndiaye rehabilitates not only architectural interstices, but also those between the materiality of paintwork and concept, between image and installation, between anthropology and art. His paintings can be seen as strange containers that keep the spectator in uncertainty despite their apparent realism; it seems as if their pictorial quality only refers to something that is not immediately visible. The devices surrounding his characters remind of screens that present ordinary work instead of a fi lm. Life does not happen in the enclosed spaces of the cinema, but around it. The projection is therefore not supposed to produce illusion; rather, it reveals something too real. It is a systematic construction of the gaze. This perception goes beyond the smooth surface of the image to encompass its tactile and material dimension, observing the gestures of laboring hands. It is the same respect for laboring hands and do-it-yourself enthusiasts which can be found in his installation. The reconstruction of objects related to an informal economy appears in Ndiaye’s works as a positive practice, a reparation of society. He observes the informal in a unique manner. According to him, this area is not a mere socio-economic survival practice, but the basis of all artistic work - it is an everyday Duchampian defamiliarization, a space where art is sutured to life. This activity is related to the peculiar survival of obsolete objects which are literally brought back to life and recovered from a lethal area. The objects return to their material plenitude and project themselves into the future"
Jana Beránková (Writer/Art critic at Art Margins)