Présence – Hogon Series

Masquerades, Dogon myths and extinct carnival rituals told by my ancestors, the project questions presents thoughts on ancestry and notions of cultural identities 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 in postcolonial globalised times.

Inspired by my own West African, Sephardi, Native American mixed ancestry, the masquerades developed for Présence – Hogon Series are based on Panamanian long forgotten legends. The project investigates the diversity of our identities and how we reinterpret them, touching on the subjective dimension and legacies of the African Diaspora, researching cultural memory, family legacies, collective amnesia and photography that uncannily present a disappeared, impossible, forbidden past of lost home.

Dukkha – The Unequivocal Series

For the works in Dukkha I use Nkondi and threads, exploring colonialism and racial issues such as violence against black bodies, the damaging effects of beauty hierarchies and visual profilingNails, 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.


In Transhumanized Guzman works with multi-generic collages. In this ongoing series the artist investigate the relationship between black bodies and space. The black body represents all that is dangerous and unknown in alien territories when viewed through the colonial lens. The series are been developed using found images and a series of light studies composed in the artist studio.

The works take the imaginary from it’s original participation with a medium, juxtaposing and creating sculptural transformations. Transhumanized is an exploration of structure and light, contemplating different compendiums and amorphic mutations that challenge the way we experience body and space. A black body is understood as “black” only outside of its context, its “place”.  Yet for all its importance to racial identity, the writer Radhika Mohanram argues, space has been submerged and overlooked in postcolonial theory.

Monochromatic – Ajrakh DNA sequences

A decade ago Guzman’s joined the Genographic Project, an initiative of National Geographic that studies the DNA of thousands of people, helping them to find their ancestry. Guzman found his roots are African, Sephardi Jew and Native American. For different projects, the artist constructed with Amsterdam’s barrel organist Leon Perlee organ books with his DNA.

The barrel organ books were scanned, and the artist made laser banners, cartoon sculptures and ultimately block prints in India with extracts of his DNA sequence. Guzman did extensive research on vintage photographs of Dutch Indian chintz kraplap, a women’s traditional cloth that formed an integral part of the traditional wear for women in the villages of Spakenburg and Bunschoten. Kraplappen are made of Indian painted patterns and red madras textile. The project it’s been developed with the Gujarati textile master Sufiyan Khatri.

Psychogeographic Series

The project maps the critical topographies of Los Angeles and Amsterdam 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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