Born into a family of artisans and vessel makers, Camara was introduced to the use of clay by her mother. Yet even as a child, her approach to the material was individuated, and strongly guided by a connection to the divine. Although she originally concealed this figurative practice, her activities became known locally; and, with the support of anthropologist Michèle Odeyé-Finzi, brought her to the attention of a wider audience.
Camara’s inclusion in Jean Hubert Martin’s Les Magiciens de la Terre (Magicians of the Earth) (1989) at Centre Pompidou, Paris, brought international acclaim. Subsequent exhibitions include Plateau dell’Umanità (Plateau of Humankind), curated by Harald Szeemann at the 49th Venice Biennale (2001), 100% Africa at Guggenheim Bilbao (2007) and Art/Afrique, Le Nouvel Atelier (Art/Africa, The New Studio) at Fondation Louis Vuitton, Paris (2017).
Camara’s terracotta oeuvre features in numerous museum collections, notably Tate Modern, London, Musée du quai Branly, Paris and the National Museum, Oslo. During Frieze Week,
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