The impulse to create began with surrender to sound. I wanted to be a singer at a very young age in Haiti. Migration spun the quest for song into rock star dreams, poetry, and a doctoral degree in anthropology. Today, as a interdisciplinary artist and educator, the work I do is in response to the muses. Seeking beauty and grace, however haunting, I confront the visceral too often absent in structural analyses. Using a multitude of forms, I explore the borders and spaces between ethnography and performance, physical and textual materials, unmasking our fierce urgency to identify, name, and reckon with the power and vulnerability in unprocessed horrors of colonialism and empire.

Playing with recycled ethnographic collectibles, my projects mix the tangible with the intangible. I remix archived histories, statistics, and theories often with Vodou chants, popular songs, natural and sacred objects. The aesthetics in my feminist praxis stem from an organic approach to rasanblaj that is fueled by ancestral, liberation, and love imperatives. Ultimately, my aim is to access/face our collective dehumanization to recreate a fully integrated being without leaving the body behind. I remain inspired for my wish is to make some contribution to a more just world.

Works in development in RPPL (Rasanblaj Praxis Project Lab) include: “Are You Sure, Sweetheart, That You Want To Be Well?”–  With a title invoking Toni Cade Bambara’s The Salt Eaters, this redwood repozwa rasanblaj explores land-based connections to nature with calabashes, desires, spirits, and vertigo. “BlackLiberationMashUp” – is an ongoing performance meditation on Black diasporic literature from the 19th century to the present, and that Rasanblaj Manifesto is still in effect…  Stay tuned!