I am thrilled to share this wonderful article, published in the upcoming edition of the foremost Tableau Fine Art Magazine.

The double spread interview, renders more insight, not just into my personal journey, but into the very inception of Gallery ILÉ.

Moreover, the feature further highlights our upcoming inaugural participation in PAN Amsterdam, the premiere Dutch fair for contemporary art, antiques and design, during which we will unveil a new landmark group exhibition entitled THE BEACH IS IN THE FOREST.

Also featured in the article, two of the most iconic works of art that will be on view in our booth at PAN, including the interstellar mural sculpture entitled ‘Women of Power' by modern master Dominique Zinkpè, and the awe inspiring painting entitled 'Drifting Away' by award-winning hyperrealist visual artist Eddy Ochieng.

This occurrence constitutes a significant threshold for the gallery. 

I'm usually a 'behind the curtain' sort of guy but this is a wonderful opportunity to let you all into my world, by sharing intimate tells about some of the people and experiences that shaped and inspired me, especially my incredible Grand Papa, Victor Houngbadji, my Dad Barnabé and my beloved Maman Alice, without whom I wouldn't be half the man l am today.

Happy reading :) and hope to see you at the fair.

If you plan to attend the fair, and require complimentary guest tickets, or wish to schedule a private viewing of the collection, please contact us directly.

Gallery ILÉ | PAN Amsterdam

THE BEACH IS IN THE FOREST

Booth 23 | Walls & Cabinets Section

1-8 November 2026

RAI Amsterdam

GALLERY ILÉ X PAN AMSTERDAM  | FEATURE INTERVIEW | TABLEAU FINE ART MAGAZINE | OCTOBER 2026 

1 | Can you give a brief description of the history of Gallery ILE?

Established five years ago, Gallery ILÉ champions artists whose practices are leading the 'Nouvelle Vague' of contemporary African art.

Spanning painting, sculpture, and photography, our program introduces the Netherlands to exceptional works by the modern masters Dominique Zinkpè and Gérard Quenum, the critically acclaimed Nicola Lo Calzo, the award-winning Eddy Ochieng, and the mavericks Wabi Dossou, Elon M. Tossou, and Nathanael Vodouhe. In 2025, the gallery expanded its horizons by embracing both critical and global perspectives that transcend geographical origins, enriching the ongoing dialogue around Afro-diasporic worlds.

In October 2026, Gallery ILE will debut a new cohort of established and emerging artists from Ghana, Nigeria, Ethiopia, South Africa, Morocco, Suriname, and the US.

2 | Has it always been a dream to work as an art dealer, having your own gallery?

Following a two decades long career orchestrating global business development and PR strategies for luxury brands across designated markets including APAC, EMEA, and the US, a profound shift in the industry left me unfulfilled. Choosing evolution over the status quo, I eventually leaped into the unknown. Yet, in hindsight, my core mission remains unchanged: to champion exceptional visionaries and elevate their work to a global audience.

The devotion to creative excellence runs in my blood. Raised in Paris, I was shaped by a formidable family legacy. My parents began collecting during their student years at Sciences Politiques and ENA, but my passion for the arts truly stems from my maternal grandfather, Victor Houngbadji, who helmed a remarkable collection of European Neoclassical, Romantic, and Post-Impressionist masterpieces, alongside exquisite Chinese antique furniture sourced during his travels.

After a year of traveling and soul-searching, I returned to my roots in Benin - the ancient Kingdom of Dahomey, which constitutes one of the foundational blueprints for West African civilization. It was there that objects historically transcended utility, and become crafted purely for their aesthetic beauty, initiating an unprecedented legacy of wood carving, bronze casting, and textile weaving.

As the birthplace of Vodun, Benin's profound mythology and folklore celebrates humanity's symbiotic link with nature and spirituality, a cultural inheritance that keeps it at the forefront of Africa's creative landscape to this day. Confronted by the sheer abundance of brilliant contemporary talents, establishing Gallery ILE suddenly became an evidence.

3 | Why are you going to PAN, and how was that decision made?

Amsterdam is our cherished home base. Though most of our collectors are international, establishing a stronger foothold within the Dutch market was always essential. My introduction to PAN three years ago, through Martina Halsema, former Director of Amsterdam Art, instantly won me over with its pristine environment, sophisticated anppeal and vibrant atmosphere. PAN's diverse programming, rigorous quality assurance, and magnetic pull towards a vast yet discerning audience of seasoned collectors, reinforces its status as a premier art fair.

I am deeply honored that the Board of Trustees selected Gallery ILÉ on our very first application. My sincere gratitude goes to Managing Director Mark Grol, Margitte Verwoerdt, and the entire team for welcoming us with their invaluable support.

4 | How do you view participating in art fairs in the future? Multiple fairs per year, or not?

Moving forward, we aim to expand our global outreach even more, through our participation in major international art fairs including AKKA in Paris, The Armory Show in New York, Art Basel | Scope in Miami and of course 1-54 in London.

5 | We are curious about your insights, your choices regarding artists and their works. Can you tell us a bit about how you make those choices?

Our curatorial stance rejects any and all stereotypical viewpoints often associated with African art. Often favoring abstraction over figuration, we believe diverse, hybrid forms of creative expression cannot only coexist, they can thrive within a singular terrain.

Gallery ILE serves as a central stage for artists whose practices honor their rich history and ancestral traditions, while boldly confronting them with the notion of contemporaneity. In our interconnected world, cultural hybridity does not necessarily means diluting one’s heritage, it actually expands it. By fostering a deeper sense of identity, creative bridges opens uncharted territories, dissolves the erroneous idea of borders and separateness, and ultimately celebrate our shared humanity.

This philosophy of one unified field of consciousness anchors everything we do.

6 | Which masterpiece are you presenting at PAN and why?

Marking its debut at PAN, Gallery ILÉ presents "THE BEACH IS IN THE FOREST". Our new landmark exhibition will unveil Dominique Zinkpe's latest series of totemic BÉJÌ sculptures, Gérard Quenum's large-scale minimalist canvases, and Eddy Ochieng's awe inspiring hyperrealism paintings, alongside other compelling works by Wabi Dossou, Elon M Tossou and Nathanaël Vodouhè.

7 | Can you indicate your preference regarding art/objects and/or what your favorite work is hanging or standing in your living room?

One of the greatest privileges of being an art dealer, is the rare access to remarkable works by creators I deeply respect.

Early in my journey, I was gifted a magnificent canvas by Dominique Zinkpè, a close friend and trusted associate. This piece holds immense sentimental value for me.