Waters of the Abyss: An Intersection of Spirit and Freedom is a monumental and immersive series comprising roughly fifty pieces, ranging from towering eight-foot mermaid portal sculptures to expansive tabernacle paintings and small artifacts. In this series, embellishments of glass, crystals, shells, sand, metal, and stones are intricately merged with paper to create a world where the ancestors reside—a place where, to access our cosmic selves, we must journey through the portal of our own existence into the beautiful chaos of nature.
This series was born from a profound question: What lies at the center of Black freedom? To explore this, I delved deeply into the history of my homeland, Haiti—the first free Black nation in the world. My research into the Haitian Revolution led to a realization that African-centered spiritualities, particularly Vodou, may have played a pivotal role in the fight for freedom.
According to Haitian Vodou and other Afrocentric theological and ethical traditions, those rooted in the present have a responsibility to reach both backward and forward in time—to honor, remember, and harness connections with the past and future as sources of empowerment, healing, and knowledge. These connections with ancestors and the Iwa (spirits) of the spiritual realm, combined with an understanding of oneself as a future ancestor, shape and inform visions of a more liberated and beautiful future. In this spiritual framework, time-traveling, shape-shifting spirits are summoned where they are most needed in global pursuits of Black freedom.
The mirror in this context serves as a metaphor for the cosmography of Haitian myth—referred to as the “cosmic mirror.” The vertical plane of the cross plunges into the mirror’s surface—the waters, the abyss—symbolizing the metaphysical world. The horizontal plane of the cross represents our mortal world, the realm where human choices and experiences unfold. At the intersection of these planes lies the portal through which communication with the metaphysical world occurs. This crossroads is where the past, present, and future converge, and where spirits meet us. It is at this intersection that the deepest truths of who we are emerge.
In this series, the use of paper as a central material holds profound significance. Paper, as a symbol of identity and proof of existence, allows me to rebuild, reframe old narratives, and engage in acts of repair. By integrating this material with themes of spiritual connection and Black freedom, I aim to create a body of work that not only honors the past but also envisions and helps shape a more just and liberated future.
Although Haiti’s children won the battle for freedom, they lost much—if not more—as a consequence of that freedom. One of the greatest losses was the division of cultural identity. Many Haitians adopted a religion that had been used as a tool of oppression and became fearful, in some cases, of the very spiritual practices that had helped their ancestors gain freedom: Vodou. Some families completely abandoned their ancestral practices in favor of something that might make them more accepted in a world that has always seemed invested in Haiti’s destruction. This loss, or the fractured state of identity, was intended to cripple, dismantle, and destabilize, paving the way for more insidious forms of oppression to take root and persist for the sake of power.
While thirty pieces of the Waters of the Abyss collection will debut at the Isabella Stewart Gardner Museum in late February 2025, I plan to utilize another full year to complete the series by adding more sculptures and paintings. Winning the Guggenheim competition would allow me to focus solely on the Waters of the Abyss project and afford me the supplies needed to complete it. The grant funds would serve as my primary source of income for that year, enabling me to dedicate all my time and energy to this work. Additionally, upon completion of the project, the funds would be instrumental in securing the proper storage space for the entire collection as it prepares to tour.
The Waters of the Abyss series represents the culmination of years of artistic exploration, cultural reflection, and spiritual inquiry. This project is not just another collection of works; it is the embodiment of my life's journey, both personal and professional. Through this series, I aim to create an immersive experience that transcends traditional art forms, inviting viewers to engage with the intersections of spirit, history, and identity in a way that is both profound and transformative.
My intention with this series is to craft a narrative that resonates deeply with audiences, encouraging them to explore their own connections to the past, present, and future. By drawing on the rich spiritual and cultural heritage of Haiti, alongside the broader African diaspora, Waters of the Abyss seeks to bridge gaps in understanding and foster a greater appreciation for the complexities of Black identity and freedom.
Furthermore, this project serves as a testament to the resilience and creativity that emerges from adversity. It is a reflection of my belief in the power of art to heal, inspire, and bring about meaningful change. The series not only honors the legacy of those who came before us but also envisions a future where the spiritual and the material worlds coexist in harmony, offering a blueprint for liberation and unity.
As I look ahead, my goal is to see Waters of the Abyss not just as a standalone series but as the foundation for future projects that continue to explore the intersections of culture, spirituality, and identity. I envision this series traveling to different cities and countries, sparking conversations and inspiring others to reflect on their own histories and connections to the broader human experience.