For a Caribean graphic design

  1. In 1999 first of all, also visible on my website, « Chyen blan-la » is the first story I created myself. Between 1997 and 1998, as part of my study project, I had already produced a traditional tale featuring « Konpè Moustik é Konpè Chyen ». It was only seen by my family, the school of art and the jury of diploma. On this subject my main objective has been the « graphic emancipation » of the classical illustrations visible in the books and a visual rapprochement towards a form more faithful to the « natural » expression of a tale said. The small 1-minute film of the following year was presented to the general public (at Port-Louis) for a work considered – a priori – as « art. » The ideological roots of an original design are already growing.
  2. A few months before the passage to the year 2000, I conceive the model of the work of the first edition of the month of the documentary film. I introduce into it illustrations of the beginnings of my instinctive graphic productions which already preceded the work on the tale. These are circular signs, equated with traces of dogs’ paws by some at the time, but being in fact graphic representations of the 7 main rhythms of the Gwo-ka music.
  3. Later in 2009, I launched the concept « Mounsinéma, sinema a moun isi or cinema of the people of here » (cinema and arts-graphic parties dedicated to local creation). In this event, I begin to use the first conceptual tools detected 10 years earlier in the graphics of the visuals of the event.
  4. Then in 2012, interestingly, in the midst of several proposals of images that I had given during my candidacy to the AACDD (African and African Design Diaspora) which takes place in London, it is the animation « Chyen blan (Which I had not even mentioned or presented) that was chosen by the staff of this event as the main presentation of my work and as an illustration of the « ABSENT ART » event in which I would participate.
  5. In 2015, I finally decided to present my first solo exhibition, « Asi chimen … pou bout« , at the municipal library of Port-Louis. Here too, I deliver another part of my work through a project of creating pictograms always based on the same guidelines.
  6. Then in 2016, on the basis of an original creation entitled « Kè Péyi« , made especially for the occasion, I am selected by the National Gallery of Jamaica to participate in « DIGITAL » , its first international collective exhibition dedicated to digital art. Always according to the same concept, visually this production presented was based on a choice of formatting using a loop of animated images starting from the rhythmic structure of the famous boulagèl of evenings of traditional local funeral watches.
  7. The same year, in the N ° 2 of the online journal Lespwisavann, I give an excerpt from my point of view on the world of the image, with an article entitled « Imaj é lidé adan on péyi Karayib or vision on the existence of visual-graphic arts in Guadeloupe « .

To summarize, the nerve center of my research is in the visual perception of the artistic, ideological and intellectual contents present in all the traditional manifestations of our Guadeloupean culture. For that, I rely on the ones I like and on what I can show …

Like the musicians of the « Kako » movement, which I think are the closest to the artistic preoccupations I am talking about here, I invite more Caribbean visual artists, particularly, to embrace this virtuous and invigorating creative path …

Article first posted online July 5, 2016 / Cliquez ici pour lire la version française