M. Florine Démosthène, an artist born in the US and raised between Port-au-Prince and New York, discusses her collage and sculptural practice in an interview with Burnaway. Her work explores the syncretisation of colonial activity and indigenous practices, drawing on her time living in Ghana and her Haitian heritage. She investigates objects from museum archives like the British Museum and the Metropolitan Museum, focusing on how African art was stolen from shrines and how spirituality was pillaged. Her current research includes sugar chests, Blackamoor furniture, and the use of the Black body in decorative arts, as she transitions toward examining how languages and spiritual systems intersect with technology.
This interview matters because it highlights the work of a contemporary artist who bridges Haitian vernacular traditions and global contemporary art, addressing themes of colonialism, spirituality, and cultural restitution. Démosthène's practice, featured in exhibitions at the Frist Art Museum and Pérez Art Museum Miami, offers critical insights into the legacy of slavery and the ongoing impact of colonial power structures. Her focus on reclaiming and empowering stolen objects resonates with broader conversations in the art world about provenance, decolonization, and the role of museums in preserving cultural heritage.