My work aims at forging relations beyond preconceived notions of identities by opposing systems
of oppressions that shape those categories, through a hybridity of form and discourse and for the sake
of a deeper healing of the world. In Safe Spaces for a passing History, I carry out those reconfigurations
through a process that I’ve named “scrap painting” where techniques and iconographies drawing from
both popular and scholarly references merge. By combining ceramics, pastels, painting, photographs,
archive images, talismanic writing and everyday objects upon different media, I tailor the practice of
painting to my own needs and rules, and I strive to highlight the corporeal quality of the metaphysical
and political questions that shape my art. In addition to this material aspect, the pieces in Safe Spaces
for a passing History open onto a less tangible realm through the use of my mediumistic gifts, and make
the boundary between the visible and the invisible permeable: these paintings then become energetic
portals which rearrange quantum timelines to reveal new domains of possibilities, and to formulate new
ways of existing.

First devised in order to represent historical feminine figures from the black Haitian revolution, these
works have since then included a wide range of cultural and political personalities, such as Rihanna and
the women warriors of Dahomey, expanding to broader issues of the (non)representation of
disadvantaged communities in our memories and imaginations. Therefore, this series is a crucial
milestone in my work, where several matters that have accompanied me for a long time converge: by
bringing together different eras, various techniques, “lowbrow” and “highbrow” cultures, historical
depictions and spiritual dimensions, Safe Spaces for a passing History is a celebration of speculative
narratives of artistic and political self-determination, and an ode to the chaordic – as defined by
economist Dee Hock – as a harmonious and organic fusion of order and chaos.

It is precisely in this interval that I create “spaces” of reinvention for the self, which are “safe”
because they offer the possibility to the public and myself of building together a vision of the world
which we can inhabit, an alternative to the violence of an official, violent and deceptive “History”. To
define this new history, I’ve chosen the word “passing” for its ambiguity, as it refers to both the idea of
disappearance and strategies of survival adopted by subjugated individuals consisting in embracing
customs from the dominant groups who oppress them (especially within dynamics linked to systemic
racism, or for the transgender community). Serving both as political toolboxes and as fields of intuitive
experimentation, the paintings from this series thus enable what decolonial philosopher Gayatri
Chakravorty Spivak describes as a “rewriting its own condi tions of impossibility as the conditions of
its possibility” for marginalised subjects. In this way, Safe Spaces for a passing History proposes a form
of healing which links the personal and the political together, by harmonizing intimate histories with
collective liberation.

In collaboration with Ariane Fleury

Defixio in Latin, κατάδεσμος / katádesmos in ancient Greek, are the most widespread type of evidence that has come down to us of ancient magic from the sixth century BC to the sixth century, throughout the Greco-Roman world. Attested in the literature, the practice literally consists of nailing, binding a person. The aim of defixion would be to subject another human being to one’s will, to render him or her incapable of acting according to one’s own will, a practice nowadays called bewitchment. The defixiones amatoriae aim at attracting a loved one, and this most often in a definitive and immediate way. This exhibition would therefore have the same purpose. To subject human beings to act otherwise than by their own will, in a common destiny in favor of a full consciousness for a respect and a love of the mixed cultures and of the Nature. Défixion is therefore a particular spell. The exhibition appears as the space of a temple destined to offerings of different natures: offerings in gratitude to the universe to allow us to (re)fall in love with it, offerings to forgive mankind for the disasters we commit on Earth or to reflect on the question of giving as with « Do not banish me from your heart ».