Morel Doucet

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When I become liquid light, black boys dance with the Moon, 2020

acrylic on paper, Mylar & Aerosol paint, 22 x 30 inches

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Purple melodies, black boys dream's in color, 2020

acrylic on paper, Mylar & Aerosol paint, 22 x 30 inches

Tropical foliage and front yard gardens are like gatekeepers of time - they anchor the dreams and hopes of the people.

Water grieves in the six shades of death, is a series of mixed media drawings that examine the realities of climate-gentrification, migration, and displacement within South Florida's Black diaspora. The title is rooted in magical realism, juxtaposing water as a body containing historical trauma, cultural dissonance, and active memory. Within the past two years, I've been exploring Little Haiti, Overtown, Allapattah, and Liberty City to gather various flora and fauna from these communities to create ecological drawings in the form of abstract portraiture of the residents that live in these districts. When I explore each neighborhood, I see they are in some way sacred to the people who live there. The land harbors their cultural history, legacies, and shared nostalgia. 

 

Within the last decade, developers have been aggressively gentrifying these neighborhoods for elevation and land value, which causes displacement due to rising rents and property tax. As a result, these communities are changing rapidly. I want to explore the theme of climate-gentrification in South Florida. In the event these Black bodies cease to exist with the threat of climate-gentrification, the land we inhabit still holds our cultural memories and genetics. Tropical foliage and front yard gardens are like gatekeepers of time - they anchor the dreams and hopes of the people. 

Child, and Madonna by Morel Doucet

Black mothers wail a virgin rainfall

as eulogies bleed like hand-me-down fabric

from Christ; black bodies

stain the pavement in crimson red.

We the children of the copper-sun

is the regal Black Madonna, caramelized

brown skin dances in the sultry summer.

 

Our palms hold a Georgian tradition, smiles

painted as laughter on the smear of our faces.

We chastise nightfall for the fear of

our shadows, clothes stained 

with broken promises.

Tea with the Queen is an emotive metaphor that connects and decontextualizes Haiti's colonial history with France. The vessel compels the bearer of the teapot, France, to reexamine its relationship and placement in history by offering reparations to Haiti valued at 22.3 billion dollars today. The vessel is embellished with white porcelain flora illuminating an anthropological connection to the French bourgeoisie for opulence and glamour while disguising the subject of reparations as a halcyon conversation with gatekeepers of change.

Tea with the Queen (Reparations), 2019

Moonlight Maidens (Envy, Despair & Misery as three Sisters), 2019

Moonlight Maidens (Envy, Despair & Misery as three Sisters) explores the vices of colorism and skin bleaching that is prevalent throughout various parts of the Caribbean. Each teapot stands as a signifier for class, economic disparity, and skin conditioning among each different social group. All vessels cast a shadow of familiarity when illuminated underneath the light, an analogy for we all bleed the same color beneath our skin. While each teapot is positioned autonomously, it does not define the circumstance of their future. 

Artist & Studio

Photo: Pedro Wazzan

Oct 1, 2020 – Jan 15, 2021

Curators: AdrienneRose Gionta and Jeanie Ambrosio

University Galleries

Dorothy F. Schmidt College of Arts and Letters

Florida Atlantic University

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