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IYEKETI STUDIO

@iyeketi.studio

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studio | creative house | practice
by Aminata Collé Mboup — [email protected]
toronto \ dakar

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WAS I MYSELF OR ONE OF MY MOTHER(‘)S (2026)

absolutely insane 4 months ride but lowkeyyy let’s go again 🤭
Jamais seule dans le support et l’accomplissement de mes rêves donc merci avant tout mes deux mother-mould d’amour Camille Rauton and Carmen Mahave. Teachers Josh Avery, Kristi Chen, Jason Mendiola. Mes vies Marieme Mboup, Ami Collé Mboup, William Ukoh, Gloria-sherryl François, M’Borika Dioume, Fama Sakho. Advisers Raoul Olou & Flora Shum. Custom original Baoulé mask by the lovely Aidara. Et toujours, the two parents I inherited freedom and discernment from. Amouma sene feye 🌷 by @iyeketi.studio

took a while to got through notes and thoughts but from our last exchanges on hospitality and the questions you’ve shared with me, here are some reflections on:

__ cosmopolitics of hospitality, defining key terms of Senegalese Teranga and analyzing emotional + temporal rhythms in hosting spaces.

full video on youtube, all of it serving as a starting point to larger reflections! a long one but good things can’t be condensed into short format, can’t wait to hear your thoughts!! by @iyeketi.studio

an honour to be in vulnerable conversation with @interiordesignmag accompanied by LES FÉTICHES SENSIBLES (2026). Exchanging on my journey in art so far, the transformations i am always eager for, challenges and the rejection of borrowed desires/dreams. there’s more than one path to build. by @iyeketi.studio

Aminata Mboup (@iyeketi) is a sculptor and craft designer born in Dakar, now based in Toronto. Her practice is built around the idea that everything is a vessel: that objects hold meaning, that people carry histories, and that making something is always also an act of receiving what came before you and deciding what to pass on.

In this conversation with our Editor-in-Chief Tobi Efunnowo (@tobiefunnowo), she talks about growing up in Dakar navigating a deep love for her home and culture alongside a colourism she could not separate from it. About IYEKETI, her creative house, named for a Wolof word meaning to feel uplifted. About spending 345 hours casting concrete for a series about mothers, daughters and inheritance. And about why, when she imagines her future, she sees herself gardening, because a gardener, she says, is a futurist.

Read the full story on getunruly.com. by @iyeketi.studio

00 prototype — Negative cast from remaining of an ink stained alginate mould. by @iyeketi.studio

Archiving highlights of my visit and conversations from the Pavilion of the Future, part of the atlas of Contemporary Architecture in Mexico. Exploring the languages and typologies of the first quarter of the twenty-first century, imagining the next upcoming build through exercises in collective reflection and production. What will Mexican architecture be in 2050, who are the actors and who gets to imagine what they would prefer for it to be? To what extent can projections of cities and spaces based on imagination can help chart better futures? what are the responsibilities of both makers and habitants?

Curators and developers — Pablo Landa Ruiloba, Estudio Estudio, and Urbanalítica.
Team — Pablo Landa Ruiloba, Inés Benitez, Nuria Benitez, Mercedes Landa, Ivan Montiel, Fred Ardila, Frida Mouchlian, Cristina Canizales, Sebastián Serrano, and Victor Valencia.

#industrialdesign #architecture #materialresearch #interiordesign #iyeketima by @iyeketi.studio

As a senegalese person I grew up with the notion of Teranga, that the communal is deeply personal, and to host is a high form of honour, allowing you to share your understanding of people’s needs and feelings, giving you the opportunity to make others feel seen and touched by how you receive them. It shows in attention and thoughtfulness and ultimately crafting not just environments but moments, purposefully bending time. So very grateful to @vidalentahospitality for welcoming me and supporting my constant knowledge seeking. Through a glimpse into the @hotelocultomx and @casalevoramx spaces, an ode to the living form. by @iyeketi.studio

a fun late night study, i love being a human 3D printer

#sculpture #craftdesign #iyeketima by @iyeketi.studio

a quick studio visit at @manufacturamx a 3D impression, production/research factory based in Ciudad de México. I was lucky to have a conversation and get to see part of the process and well as I understand their material work and language. Through their practice, they consistently work with organic matters and natural waste like coffee rinds, or eggs and even saw dust, all to question manufacturing processes and focus on creating solutions. Materializing and printing for different functions ranging from sculptures, architectural, industrial designs and even coral reef restoration devices! I was sad to not be able to make it to their workshop and so was glad to get to chat with founder/architectural designer Dinora Martinez Schulte, ask questions and see it all up close.

#sculpture #industrialdesign #materialresearch #iyeketima by @iyeketi.studio

Archiving my visit at museo anahuacalli, my favourite stop in the city so far. Sketched in the 1940’s and with the added vision of architect Juan O’Gorman, the now expanded museum holds Diego Rivera’s massive collection of indigenous pre-hispanic art, a space inspired by his desire to paint Tenochtitlan, the ancient capital of the Mexica.

The edifice is defined by its distinct deep, humid, volcanic stone and subterranean architecture based on the Teotihuacan pyramids but still holding modernity with its tall glass windows at the center. The artist died before the project was completed but the space endures offering workshops, holding events and expanding into a diversity of experiences.

Currently featuring “eyes like wells, mouths like a cave” by Lorena Ancona, a ceramic production exploring the intersection of body and landscape. Based on the Mesoamerican myth of Tlaltecuhtli —a primordial deity fragmented to give rise to the sky and the earth. by @iyeketi.studio

iyeketi journal, may 2026
Un retour et réflexion personnelle sur le Panel au @textilemuseumofcanada a l’occasion du showcase @re.stance sur la culture de re-imagination des matériaux qui nous sont accessibles. Le but de nos espaces de conversations ainsi que de l’art est toujours de susciter une réflexion et une émotion. Les solutions ne sont pas singulières mais multiples, et ça commence avec l’exercice de l’imagination pour tout doucement changer nos perspectives et se re-approprié nos pensées, émotions et croyance. “For the work to be impactful enough to hit you on the head, to make you think”. by @iyeketi.studio

LES FÉTICHES SENSIBLES, 2026 — sigil muñalé
38x13 cm, 26x28cm. Céramique, Bronze.

Deux sœurs, manifestant cette période de l’enfance marquée par l’émerveillement et la sensibilité. Et plus spécifiquement l’état transitoire de nos émotions et à la manière dont celles-ci nous façonne, à la merci du monde qui nous entoure.

Quatre sculptures qui s’enchevêtrent et raconte l’histoire de nos transformations, rythmées d’une certaine peine et d’un sentiment de deuil constant, pendant qu’elles se déploient à travers les émotions qui relèvent de la vulnérabilité nécessaire à notre épanouissement. Les deux statues en céramique portent deux autres têtes de femmes adultes en bronze. Illustrant comment la force naît et coexiste au sein même de la fragilité et du très sensible. Ces pièces s’inscrivent également dans le cadre de mes reflections sur la relation entre les sentiments collectifs, ancestraux, de nos aînés ainsi que nos expériences contemporaines. Le tout à travers la manifestation de formes, des vestiges, et des reliques.

Céramique: Sculpter et fabriquer par Aminata Mboup.
Bronze: Imaginer et commissionner par Aminata Mboup et fabriquer par Mouhamed Thiam. Et un grand merci à Monsieur Seck pour les conseils et recommandations, et à Imann Gaye du @banworkshop pour l’accompagnement! by @iyeketi.studio