After his degree in Paris at the ESAG, he moves to Dakar in 1986 to be a graphic designer, at the time of the Afro-pop cinema, and the forerunners of African rap. In 1987 his work is exhibit for the first time at the Galerie Nationale du Sénégal. Between 1988 and 1991, he goes back to Paris to become the assistant of Roman Cieslewicz, a major Polish artist from the graphic scene. Encouraged by this renown figure, he reinforces his interest for printed things and printing techniques. He is the cofounder of the 100% Dakar label and collaborates with the studio DKR in the 1990’s. in 2007, he animates photomontage workshops at the Academie des Beaux-Arts of Kinshasa, and from the following year organizes a screen printing workshop at the Ecole Supérieure des Arts Visuels of Marrakech.
Vincent Michéa loves music vinyl records, and particularly the visual and graphical aspect of the record sleeves that he reproduces. His choice of subjects, of everyday scenes, his patches of bright colors and the stylized treatment of the figures bring him close to Pop Art. His work depicts a nostalgic and glamourous image of Dakar, with its modernist architecture, the burgeoning of the past music scene and its flowers covering everything.
Frédéric Bruly Bouabré,
Bodys Isek Kingelez,
J.D. 'Okhai Ojeikere,
On aime l'art...!! Un choix d'Éric Mézil parmi les oeuvres de la Collection agnès b.
Exhibition, Collection Lambert en Avignon, France
Dak'art 2018, coups de coeur
Le Point Afrique
By Valérie Marin La Meslée
Exposition: "Que reste-t-il de nos amours ?" dans la palette de Michéa
By Rémi Coulibaly
Vincent Michéa : Que reste-t-il de nos amours ?
By Hedi Dahmani
Omar Victor Diop,
5 must-see booths at 1:54 African art fair in NYC
Lives and works between Paris and Dakar