Présence – Hogon Series

Masquerades, Dogon myths and extinct Panamanian carnival rituals, the project questions presents thoughts on ancestry as well as possibilities and ideas referring to exile identities, migratory aesthetics and how they bring together thoughts, experiences and dialogues that configure the world of the Diaspora.

The Project touches on the subjective dimension and legacies of historical traumas such as the African Diaspora and the slave trade, that subsequently created what is called ‘the Black Atlantic’. Researching historical routes, pre colonial worlds, cultural memory, amnesia and photography that uncannily present a disappeared, impossible, forbidden past of lost home.

Presence also dig into the aesthetics of vernacular life: sound, colour, objects, habits, clothing, hair styles, beliefs. Visualizing the continuity of identity within diasporic communities and how their migration and encounter transforms other cultures dialectics.

“A culture that is not specifically African, American, Caribbean, or British, but all of these at once, a black Atlantic culture whose themes and techniques transcend ethnicity and nationality to produce something new and, until now, unremarked”. Paul Gilroy -The Black Atlantic.

Dukkha – The Unequivocal Series

For the works in Dukkha I use Nkondi and threads essentially to investigate Diasporic networks. Nails, threads, marine ropes, wood, bits of cloth, beads, even miniature photo carvings have all been added to literally and figuratively load the figures, forming dark clouds of criss crossed lines across the imaginary.

I call my mixed media works photo deconstructivism because it is influenced by what is called in semiotic analysis “the theory of deconstruction”. Deconstruction is an essential element in my projects. By unsettling the stability of the images, it allows us to have an open interpretation, there is no longer a fixed meaning, it opposes the aesthetic.

Psychogeographic Series

The project maps the critical topographies of Los Angeles from the 70′s to now, by focusing on the cultural politics of space, time, and segregated neighborhoods. The result is composed of photos, drawings, objects and sculptures that illustrates racial and economic segregation.


strikeslip series – Twenty Six L.A Street Cracks

In 1960 the Suriname-born artist Stanley Brouwn asked people on the street to show on a piece of paper how they would walk from point A to point B. In 1963 American Edward Ruscha photographed all the gas stations he came across driving from his home in L.A.

The Strikeslip series are a documentation of “Twenty Six L.A Street Cracks – Segregation Borders & Earthquakes Walks” from Venice Beach to Down Town L.A. Using GPS Mapping to prevent walks through areas of racial tension, police brutality and violence.


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