Vèvès & Loas by Raymond Salvatore Harmon

Vèvès & Loas by Raymond Salvatore Harmon

A reconstructed version of Maya Deren’s Divine Horsemen. Using secondary refilming, compositing, and frame manipulation Veves & Loas takes its source imagery from Maya Deren’s footage of Vodoun practices filmed in Haiti.

Divine Horsemen by Maya Deren

“Whether drawn in flour on flat ground or traced in the air, the sign of the cross roads is always the juncture where communication between worlds is being practiced”

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Farewell my Queen

Versailles in July 1789. There’s growing disquiet at the court of King Louis XVI: the people are defiant and the country is on the brink of revolution. Behind the scenes at the royal palaces emergency plans are being made. Although nobody believes that this spells the end of the established order everyone is talking of escape, including Queen Marie Antoinette and her entourage. One of Marie Antoinette’s ladies-in-waiting is Sidonie Laborde who, as the Queen’s reader, is a member of the monarch’s inner circle. Little does she know that she is about to witness the downfall of her beloved queen.

Farewell My Queen, Summer 2012

Au mariage d’Hadriana, les soeurs Kraft s’étaient trouvées en tête du groupe fascinant des demoiselles d’honneur, en meilleur position que les pulpeuses jumelles Philisbourg qui étaien également des jeunes Haïtiennes très proches de Nana. Mélissa n’avait-elle pas déchiré sa toilette à l’église en voyant son amie s’écrouler avec son “oui” de perdition?

Hadriana dans tous mes rêves, René Dépestre, 1987

Wang Shu and Traditional Practices

Sketches004

Wang Shu came to visit RISD during the Fall of 2011 and made a speech about his practice in China. At the time I knew very little about Mr Shu but developed an interest in his approach to architecture. His lecture in the Fall consisted for the most part of the way traditional Chinese paintings inspired his work. This made me think about my interest for the “naive paintings” in Haiti as I approached my thesis back in the Summer of 2011. In the progression of my thesis, I decided to work on the Manoir Alexandra, and also focused on designing spaces of exhibition for the classical painting “Oath of the Ancestors”. The traditional Haitian art (mostly renown through Haitian painter Ismael Saincilus) took the back-burner. Upon critiquing my work, a teacher who had spent a year at the China Academy of Art praised Wang Shu’s campus for the many performance spaces it allowed. She encouraged me to go back to the Haitian “Naïve” paintings, two-dimensional pieces of work that reveal layers of depth. She also encouraged me to watch the movie Piña for inspiration because in designing the dance spaces of the Manoir, I always dealt with dance and movement through space.

Below are some pictures of the China Academy of Art selected via a google search. Most recently Wang Shu has been written about in this NYTimes article: An Architect’s Vision: Bare Elegance in China

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Fourmillement


“Tu marches vers une mort illustre sans être tâchée par la maladie ni par l’épée”
– Sophocle (choeur d’Antigone)  | cité dans Hadriana dans tous mes Rêves

-Un baiser pour toi, Nana!

J’aurais voulu le lui rendre. Il était trop tard: j’étais en train de mourir. Ça faisait un instant qu’un malaise effarant s’était abattu sur moi. J’étais parcourue d’une sensation aiguë de fourmillement comme si on me piquait à ‘aiguille des pieds à la tête.

Hadriana Dans tous Mes Rêves | René Dépestre


Je vis, je meurs

Je vis, je meurs : je me brule et me noye.
J’ay chaut estreme en endurant froidure :
La vie m’est et trop molle et trop dure.
J’ay grans ennuis entremeslez de joye :

Tout à un coup je ris et je larmoye,
Et en plaisir maint grief tourment j’endure :
Mon bien s’en va, et à jamais il dure :
Tout en un coup je seiche et je verdoye.

Ainsi Amour inconstamment me meine :
Et quand je pense avoir plus de douleur,
Sans y penser je me treuve hors de peine.

Puis quand je croy ma joye estre certeine,
Et estre au haut de mon desiré heur,
Il me remet en mon premier malheur.

 Louise Labbé, Sonnet VIII, 1555