An afternoon of mellow heat. The photographed rider sits on his motorcycle close to the bend of a road, right in front of the tattered canopy of a fruit seller. The street behind him is a quiet riot of goods—the apples, bananas, clementines, the jerseys. A parked taxi welcomes the immaterial purchase of a journey, the same exchange suggested by the motorcycle. And then, what can be said about this golden helmet worn by the motorcyclist, dotted with symbols of cowrie shells and spiked with horns? You encounter such instances on any street, where the sculpture of an object seems even more meaningful than its function, so that beauty is never impracticable. 

This photograph was taken in Tambacounda, Senegal.

It was not easy taking it because Africans are still afraid of being photographed. But I made sure to chat with my model before asking him to pose, making sure that he is okay. 

I love the photograph because of the presence of the model and the value of African youth.

My photography is a form of therapy for humanity. It's full of compassion, love and understanding.

Visual literacy is important and photography is the heart of it. A photograph teaches us 1000 words. 

Djibril Drame is a Senegalese visual artist. His work, as he writes on his website, “reflects the many aspects of Africa’s multifaceted history and innumerable intertwined cultures.” In particular, the second photograph is from “Forgotten Icons,” a series on two Senegalese musicians, traditional singer Yande Codou Sene and tassukat Aby Gana Diop.