Decolonizing Photography: Omar Victor Diop’s Powerful Expressions

Omar Victor Diop’s Expressions décoloniales series redefines visual storytelling by centering Black historical figures erased by colonial archives. The Senegalese photographer’s work, now exhibited globally, challenges Western narratives of Africa’s past through meticulously researched portraits and staged scenes.

The Senegalese photographer Omar Victor Diop has emerged as a leading voice in decolonial visual arts through his Expressions décoloniales series, which reimagines Africa’s colonial history by centering Black figures systematically excluded from Western archives. The project, spanning photography, film, and installation, has gained international recognition, with exhibitions at institutions including the Musée du Quai Branly–Jacques Chirac in Paris and the Haus der Kulturen der Welt in Berlin. According to curators and art historians, Diop’s work forces a reckoning with how colonialism shaped historical memory, using staged portraits and reconstructed scenes to restore agency to those marginalized by imperial records.

Diop’s breakthrough came with Expressions décoloniales, a 2018 series that reenacted moments from 19th-century colonial archives—such as a staged portrait of a Black soldier in a French military uniform, or a group of women dressed in traditional attire posing with European settlers. Unlike traditional historical photography, Diop’s images invert power dynamics: subjects are never passive, and the colonial gaze is disrupted by deliberate framing and composition. "He doesn’t just correct history—he rewrites it visually," said Rezo Nòdwès, a cultural critic who has analyzed Diop’s work. "The series asks viewers to confront the violence of the archive itself."

The project’s impact extends beyond galleries. In 2023, Diop’s Diaspora exhibition at the Louvre Abu Dhabi drew record attendance, prompting debates about how museums engage with decolonial perspectives. Curators noted that Diop’s approach—rooted in Senegalese history but resonating globally—has influenced a new generation of African photographers. "His work is a tool for education as much as art," said Fatoumata Diallo, a historian at Cheikh Anta Diop University in Dakar. "It shows that decolonization isn’t just about politics; it’s about reclaiming the visual language of our own stories."

Critics highlight Diop’s collaboration with historians to verify details in his reconstructions, ensuring accuracy while maintaining artistic integrity. For example, his 2021 film Werewolf reimagines the life of a 19th-century Senegalese resistance leader, blending archival research with fictional narrative. The film’s release coincided with renewed global discussions on reparations and cultural restitution, positioning Diop’s work at the intersection of art and activism.

While some Western institutions have embraced Expressions décoloniales, others remain cautious. A 2024 exhibition at the British Museum faced backlash from colonial-era descendants who argued the museum’s framing of Diop’s work still centered European perspectives. "The challenge isn’t just to display decolonial art—it’s to let it reshape the institution," said Kofi Appiah, a postcolonial studies professor at University College London. Diop himself has called for systemic change: "We can’t ask museums to include our stories while they still control the narrative."

Diop’s influence is evident in emerging artists across Africa and the diaspora, from Seydou Keïta’s descendants in Mali to Rotimi Fani-Kayode’s heirs in Nigeria. His 2025 retrospective at the Pinacoteca de São Paulo sold out within hours, underscoring the series’ cross-continental appeal. As colonial archives face growing scrutiny—with institutions like the National Archives of the UK pledging to digitize decolonized collections—Diop’s work serves as both a mirror and a manifesto.

For viewers unfamiliar with the series, the core question remains: How does art challenge historical erasure? Diop’s answer lies in the details—every staged pose, every reconstructed scene, every erased figure given a voice. "History isn’t just about what happened," he told Jeune Afrique in 2022. "It’s about who gets to tell it."

A Senegalese photographer’s Expressions décoloniales series is reshaping global discussions on colonial history through staged portraits that invert Western archives. Omar Victor Diop’s work, exhibited from Paris to Abu Dhabi, forces museums to confront how they frame Africa’s past.

Omar Victor Diop’s Expressions décoloniales series has redefined visual storytelling by centering Black historical figures erased by colonial archives. The project, launched in 2018, uses staged photography and film to reconstruct moments from 19th-century archives—such as a Black soldier in a French military uniform or a group of women posing with European settlers—while subverting the colonial gaze. According to Rezo Nòdwès, a cultural critic, Diop’s approach “doesn’t just correct history; it rewrites it visually.”

Diop’s breakthrough came with his 2018 series, which reenacted colonial-era photographs, placing Black subjects in positions of agency. For example, his portrait of a Senegalese soldier in a French uniform contrasts with archival images where Black soldiers were often depicted as background figures. The series gained international acclaim, with exhibitions at the Musée du Quai Branly–Jacques Chirac in Paris and the Haus der Kulturen der Welt in Berlin. Curators note that Diop’s work forces institutions to question how they present Africa’s history.

In 2023, Diop’s Diaspora exhibition at the Louvre Abu Dhabi drew record attendance, prompting debates about museum practices. The show included reconstructions of 19th-century Senegalese life, such as a staged market scene with actors in traditional attire. Fatoumata Diallo, a historian at Cheikh Anta Diop University, said the exhibition “shows that decolonization isn’t just about politics—it’s about reclaiming the visual language of our own stories.”

Diop’s collaboration with historians ensures accuracy in his reconstructions. For instance, his 2021 film Werewolf reimagines the life of a 19th-century Senegalese resistance leader, blending archival research with narrative. The film’s release coincided with global discussions on reparations and cultural restitution, positioning Diop’s work at the intersection of art and activism.

While Western institutions have embraced Expressions décoloniales, some critics argue that museums still control the narrative. A 2024 exhibition at the British Museum faced backlash for framing Diop’s work within colonial-era contexts. Kofi Appiah, a postcolonial studies professor at University College London, stated, “The challenge isn’t just to display decolonial art—it’s to let it reshape the institution.” Diop himself has called for systemic change, emphasizing that “we can’t ask museums to include our stories while they still control the narrative.”

Diop’s influence extends beyond galleries. His 2025 retrospective at the Pinacoteca de São Paulo sold out within hours, underscoring the series’ global appeal. As colonial archives face scrutiny—with institutions like the National Archives of the UK pledging to digitize decolonized collections—Diop’s work serves as both a mirror and a manifesto for visual decolonization.

Why does Expressions décoloniales matter? The series challenges viewers to question whose history is told and how. By staging portraits that invert colonial power dynamics, Diop restores agency to erased figures, forcing institutions to confront their role in historical memory. As Diop told Jeune Afrique in 2022: “History isn’t just about what happened. It’s about who gets to tell it.”

How is the series influencing museums? Diop’s work has sparked debates about exhibition practices. While some institutions, like the Louvre Abu Dhabi, have embraced his decolonial approach, others—such as the British Museum—have faced criticism for not fully decentralizing the narrative. The series has also inspired a new generation of African photographers, from Seydou Keïta’s descendants in Mali to Rotimi Fani-Kayode’s heirs in Nigeria.

What’s next for Expressions décoloniales? Diop continues to collaborate with historians and institutions to expand the series. Future projects may include digital archives and public installations, further challenging how colonial history is documented and displayed. As global discussions on reparations and cultural restitution intensify, Diop’s work remains a vital tool for visual decolonization.