The Work of Philippe Dodard the Idea of Modernity in Contemporary Haitian Art

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The opening reception for Philippe Dodard: Spirits of the Caribbean area Exhibition at Akego and Sahara gallery volition exist on October xviii, 2008 at 4pm. The roundtable discussion on Haitian art will be on October 19, 2008 at 11am.  Both events volition  be at Africa Business firm

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Dr. Nkiru Nzegwu and Philippe Dodard at the opening reception of
Philippe Dodard: Spirits of the Caribbean area – Oct 18, 2008

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http://haitiphotolibrary.com/?p=709 Philippe Dodardwas born in Haiti in 1954.  Fine art, every bit a fairy, invited itself to his nascency, leading him at a very young age in 1969 to the Haitian masters Jean-Claude Garoute (Tiga), Patrick Vilaire and Frido – founders of the Poto-Mitan School who initiated him in the "Rotation Artistic" Method and its four steps of art, craft, skill development and scientific discipline . Complementary bookish trainings that followed :  starting time at the Academy of Fine Arts of Port-au-Prince in 1973 then the International School of Bordeaux, French republic  in 1975 where he studied pedagogic graphic blueprint . But unlike most of his contemporaries who moved directly to art creation, Dodard engaged into another quest of a deeper knowledge of the human being—spiritual, which he sought first in the Kripalu Yoga Ashram  in1976 on the top of the mountains surrounding Port-au-Prince. Subsequently a stay of four years in the Yoga studies, his painting  dominated by the  water element is a true aesthetic projection : Aquatisme was to be the theme of his outset One man show in 1981 at Galerie Marassa of Petion-Ville, Haiti. That showroom made him famous in the art scene. This catamenia would be merely a pace in his work toward a search  in the iconographies of the Arawak, Taïno and the African masks without eclipse of his experience  as a At Director of Multi-Advertisement, advertising agency. His fashion completely inverse after the pop uprising against dictatorship in  Republic of haiti in 1986.His commencement Museum exhibition "Soir d'Encrier" at Musee d'Art Haitien with Galerie   Marassa  in1992 presented stiff strokes of Black and white inks, coated paintings,  wooden totems and metal sculptures every bit the "Weep for Liberty" of the Haitian people. He became more engaged in social piece of work as co-founder of Fondation Culture Creation in 1992 for the promotion of Art and Culture where he served as a President for 7 years. Dodard is the bodily Cultural Adviser for the Commencement Lady Elisabeth D.Preval in Haiti, and the creative leader of Plas Timoun, a psycho social projection created by her for the relief of the Children affected past the Eartquake of Jan 12^th2010 ,using Fine art and Sport as therapy.Il est actuellement le coordonateur du "Comite National de coordination du Memorial du 12 janvier 2010."Dodard Completed many public commissions , including mural for the Sogebank building in Por-au-Prince. Amidst the One–person exhibitions held in Haiti and around the world : "Aquatisme " at Galerie Marassa ,Haiti,1981; "Mask,Mirrors and Totem" ,Margret Public Relation,New-York, 1990; "Soir d'Encrier",Musee d'Art Haitien ,Haiti, 1992 ,Curated by Michele Frisch; "Words of Light",Robert Ferst Center for the Art,Georgia Institute of Applied science,Atlanta ,1999; "The Idea of Modernity in Haitian Contemporary Fine art",Broward Library,Miami,2006,curated by Babacar M Bow;"Change"at Multitude Contemporary Art eye,Miami,2008; Arte Americas 2008,2009 and 2010 with Galerie Marassa,Miami.Philippe Dodard participated in many Bienals and  Museum Group exhibitions in the Carribean,North and South America,in Europe,Africa and Asia ,he propose  an artful approach in which the mind and the earth, the spiritual and cloth, subject and object all deliquesce into a harmonious unity.Philippe Dodard is actually a Special Guest of the Triennal Internacional del Caribe au Museo de Arte Moderno a Santo Domingo.Son Oeuvre "The Rise Soul"realise après le tremblement de terre est rentree dans la drove permanente de ce Musee.@

Africa Resource proudly presents Philippe Dodard, an internationally acclaimed Haitian creative person who lives and creates from his home in Haiti. As one of Caribbean's leading contemporary artist, his success demonstrates the visionary ability of Haiti visual fine art that has continued to command international attention. The current exhibition by Africa Firm, Philippe Dodard: Spirit of the Caribbean provides an unprecedented opportunity to experience and purchase the recent works of one of Haiti'southward almost historic artist Mr. Dodard in upstate New York. His international success demonstrates the visionary forcefulness of Republic of haiti's art as well every bit the artistic fluency, perception and depth of this creative person.

AfricaResource proudly presents one of Haiti'southward superlative contemporary creative person, Philippe Dodard.

Philippe Dodard, Haitian Artist

Born in Port-au-Prince, Haiti, in 1954, Philippe Dodard is a leading contemporary creative person of the Caribbean and the African Diaspora. His creative development was a series of steps, leading to major solo and international exhibitions including, Arte Americas (2008), the Venice Biennale (1999), Biennale of Latin American Drawings, Santo Domingo (1997), and the Biennale of Caribbean and Central America Art, Dominican Republic (1996). Dodard attained international prominence by rejecting the 'primitive', 'naïve' classification that dogged Haitian fine art. His paintings— Eternité de Mes Songes, Parole d'Ile (2005), Flûte Enchantée (1999), the Kosovo series, Femme aux Trois visages (1989), and Syncretism (1991)—are not any kind of works, states Michelle Frisch, Managing director of the Marassa Gallery in Port-au-Prince, Haiti. "They were like mnemonic devices . . . created at a moment of Philippe's coming to term with the forces that texture the Caribbean area ethos". Dodard superbly blended Haitian, Caribbean and African iconographical elements to create deep complex forms. His recent choice of themes, Initiation, Consternation and Baron-Samedi reflects his transformation into "a homo Poto-Mitan," the channeling pole at the center of the Vodun temple through which the spiritual forces descend to the oumphor (temple).Artist Statement

The most important influence that I had was at the schoolhouse of Photo-Mitan (1970) with masters Tiga (Jean Claude Garoute) and Patrick Villaire. Both of them developed the concept of contemporary Haitian art inspired from the popular tradition. While with Tiga and Patrick Villaire, I studied the principle of artistic rotation that put the pupil in contact with the different media as colors, clay, sound, inks, ceramics, poetry, movement in order to accept a consummate expression of the inner cocky, free from any preconceived definition of fine art.

I learned to develop a harmony between painting, sculpture, drawing, words, and audio to really express myself through the essense of dear that I find in every man being. I find that every drop of nature that nourished my childhood, in every consequence in my life, proficient or bad, built my personality. I consider fine art to be the luminous jiff of the homo spirit. A blink of light that inspires beloved.

Selected Solo Exhibition

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Cafe Noir

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Consternation

L'Aigle

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Africa Resource proudly presents Philippe Dodard, an internationally acclaimed Haitian artist who lives and creates from his home in Haiti. Every bit one of Caribbean'due south leading contemporary artist, his success demonstrates the visionary power of Haiti visual art that has continued to command international attending. The current exhibition by Africa House, Philippe Dodard: Spirit of the Caribbean area provides an unprecedented opportunity to experience and purchase the recent works of one of Republic of haiti's almost celebrated artist Mr. Dodard in upstate New York. His international success demonstrates the visionary force of Haiti's art as well as the artistic fluency, perception and depth of this artist.

AfricaResource proudly presents one of Haiti'southward top gimmicky artist, Philippe Dodard.

Philippe Dodard, Haitian Artist

Born in Port-au-Prince, Haiti, in 1954, Philippe Dodard is a leading gimmicky artist of the Caribbean area and the African Diaspora. His creative evolution was a series of steps, leading to major solo and international exhibitions including, Arte Americas (2008), the Venice Biennale (1999), Biennale of Latin American Drawings, Santo Domingo (1997), and the Biennale of Caribbean and Central America Fine art, Dominican Republic (1996). Dodard attained international prominence by rejecting the 'primitive', 'naïve' classification that indomitable Haitian fine art. His paintings— Eternité de Mes Songes, Parole d'Ile (2005), Flûte Enchantée (1999), the Kosovo serial, Femme aux Trois visages (1989), and Syncretism (1991)—are non any kind of works, states Michelle Frisch, Director of the Marassa Gallery in Port-au-Prince, Haiti. "They were similar mnemonic devices . . . created at a moment of Philippe's coming to term with the forces that texture the Caribbean ethos". Dodard superbly composite Haitian, Caribbean area and African iconographical elements to create deep complex forms. His recent selection of themes, Initiation, Consternation and Baron-Samedi reflects his transformation into "a human Poto-Mitan," the channeling pole at the center of the Vodun temple through which the spiritual forces descend to the oumphor (temple).Creative person Statement

The most important influence that I had was at the schoolhouse of Photo-Mitan (1970) with masters Tiga (Jean Claude Garoute) and Patrick Villaire. Both of them developed the concept of gimmicky Haitian art inspired from the popular tradition. While with Tiga and Patrick Villaire, I studied the principle of creative rotation that put the student in contact with the unlike media as colors, dirt, audio, inks, ceramics, poetry, move in club to accept a complete expression of the inner self, costless from any preconceived definition of art.

I learned to develop a harmony betwixt painting, sculpture, drawing, words, and sound to really express myself through the essense of love that I find in every human existence. I find that every drop of nature that nourished my childhood, in every event in my life, good or bad, built my personality. I consider art to exist the luminous breath of the human spirit. A glimmer of light that inspires love.

Selected Solo Exhibition

Philipe Dodard, Haitian Creative person

2008 Arte America 2008, Miami Beach convention center, Miami Floride.
2007 Me and the Miror, GMI Art Gallery, Miami Floride.
2006 The Idea of Modernity in Haitian Gimmicky Art, Broward County Library, Florida.
2005 Origin, Wheelhorse Gallery, Greenwich, Connecticut.
2003 Vibrations des Iles, Galerie Soleil, Montréal Canada.
2003 Papier Sensible, Galerie Marassa Pétion-Ville Haïti.
2001 Bonjour D'Haïti, First annual Haitian Cultural Heritage Calendar month, Miami, Florida.
2001 Voile Métallique, Painting & Sculptures, Galerie Marassa, Pétion-Ville, Haïti.
2001 A Trip the light fantastic toe of Celebration with John & James Biggers, Water work Visual Art Center, NC.
1999 Robert Ferst Center for the Art, Georgia Institute of Technology, Atlanta, Georgia.
1999 Words of Light, Indiana Perdue University, Indianapolis.

Selected Grouping Exhibitions

Magic Chair – Philip Dodard2007 Salon du Dessin Fondation Arawak, Musée d'Art Moderne, République Dominicaine
2007 Contrechamps avec Ronald Mevs, Marithou et Marie Helene Cauvin, Galerie Jérôme, Haïti
2006 La Tohue avec Galerie Jérôme, Montreal, Canada.
2004 "Kafou Marassa", Galerie Marassa, Haïti
2003 "Abbaye de Daoulas": Vaudou, Daoulas, France.
2000 "Invented Realities" Red Valley Museum, Texas, U.Due south.A
1999 48e Exposizione Internationale d'Arte, La biennale de Venezia Italie.
1999 "Una vision pictorica de la Hispanola", Museo de las Americas, San Juan, Puerto Rico.

Art and Exhibition

Artwork from Africa House contempo exhibition, Philippe Dodard: Spirits of the Caribbean

Press Release for Philippe Dodard: Spirits of the Caribbean exhibition

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An Overview of the Works of Philippe Dodard and their Significance to Haitian Culture

Mon, 04 May 2009 11:32

Adaeze Azie

December viii, 2008

Whether it may be through dance, music, or painting, it is undeniable how art plays a significant function in our history, interests, inspirations, aspirations, and daily life. Everyone has a story to tell; some choose to tell their story through art. Art is a documentation of a certain time period that expresses or conveys an emotion that relates to the earth around united states; the skill or demand to create art is principal and the bailiwick matter is secondary. Artists create stories and express their feelings through their art. A respected artist who expresses his feelings of his Haitian civilisation is Philippe Dodard; by using masks in his art, he proves that his Haitian culture has their ain identity using themes of spirituality and history.

Eons of ages ago, before the existence of Philippe Dodard, art was created equally a pastime, in which stone art showed the fundamental man activity. The early San, who went into a trance land, created stone art to express themselves and their surround. In after years, masks and masquerades became other forms of African fine art, which harness energy and evoke spirits causing the spiritual earth and physical earth to collide. This art was erroneously seen every bit "primitive" and "naïve" by Westerners who used a "pseudo-universalist" aesthetics which they had synthetic. Ever since the creation of rock fine art from 30,000 to 3,000 BCE many Europeans never gave African art a second look because of their ethnocentric manner of thinking; this changed in the twentieth century. Europeans failed not only to see the dazzler in African art, but too failed to fully acknowledge its significance and influence in other types of art.

In the paintings of Dodard, he shows his passion and pride for his land by displaying its appeal through dissimilar aspects of culture. Built-in in Haiti in 1954, Dodard was kickoff influenced by his teachers in the school of Poto-Mitan, who created the Vodun concept of Haitian contemporary fine art. Dodard'south involvement in artistic rotation method allowed him to experiment in many mediums of art like dirt, color, inks, sounds, ceramics, and poetry "in society to have a complete expression of the inner cocky, costless from any preconceived definition of art" (Dodard lecture at Africa House, 2008).

In Parole d'Ile (Island Talk), Dodard extends traditional African fine art using oval-shaped masks to convey spiritual significant and significance to the African culture. In this painting, the two masks with protruding mouths are turned toward each other, suggesting a conversation taken place in a tropical terrain (Nzegwu, 86); Dodard has drawn light-green leaves and the shades of bluish, representing the Caribbean Sea in the backdrop of trees (Nzegwu, 86), which depict lively interactions with the proximity of dissimilar aspects of nature. The multicolored bird accompanying the red and green masks adds a fantastical element of living organisms that can collaborate with their living environment in an inconspicuous language. The depiction of masks and a bird in the presence of leaves and tree trunks, as if they were floating, insinuates the presence of spirits. The bird symbolizes witchcraft and the red mask represents the divinity (lwas) sorceress of Perto arm of the Vodun pantheon named Erzuli-je-rouge, whereas, the dark-green mask represents the divinity (lwa) of vegetation named Loko (Nzegwu, 86). Dodard's visual art inspired from African fine art draws a connection and an importance to spirituality, an inspiration for most artists.

Dodard'due south creative heed allows him to portray his fine art in relation to African culture on more just a spiritual level but also on a historical level, which can exist examined in Eternité de Mes Songes (An Eternity of my Dreams). In this painting, Dodard illustrates three eyes and three bodies of a adult female holding a basket; these eyes and bodies represent different perspectives and dimensions of spirits that contribute to the Haitians' history because history is told from many different perspectives (Nzegwu, 94). Within the Eternité de Mes Songes, the women with handbasket of dreams recalls the history of Agontime, King Gezo'southward female Monarch (Nzegwu, 94); she helps in political and religious aspects of her nation, managing divinities likewise equally power and potency that derives both female and male unity that exemplifies a nation (Nzegwu, 94). Through this prototype, one can see the strength a woman possesses with spirits on her side to protect and guide her. The painting of the woman is abstruse, in which the ii-dimensional figures illustrate a detachment from reality and interprets different visual and artistic language (Nzegwu, 94). Dodard uses circuitous shapes and transforms them to show volume, edges, angles, forms, and view points (Nzegwu, 94). By combining numerous viewpoints with a manipulation of space and form, Dodard shows an understanding of Vodun iconography of African art.

In the abstruse, The Magic Wedding created in 1995, Dodard depicts a meeting for peace between the divinity of love, Erzulie, and the divinity of state of war Ogou, which contrasts the political realist painting in Port-au-Prince at the time (Nzegwu, 98).  The two opposing figures in the painting convey dignity as they were holding on to a flag representative of the Caribbean; however, the divinity of dearest is the more dominant figure, which seems to negate all hostilities around her (Nzegwu, 98). To portray the face of the divinity of honey, Dodard uses a white heart-shaped Mbuya mask whereas, he uses a diminutive mask for the face up of the divinity of war and his warlords encircling Erzulie (Nzegwu, 100); the presence of the evil spirits is a reflection of the obstacles African and Haitian art had to overcome. The image of Erzulie is and so powerful and pregnant that Dodard uses her in Open the Gate, a 1995 painting where Erzulie is unhappy about the calamity in Haiti. Erzulies's face is of the Kongo Gitenga mask to show a relation betwixt the spirito-cultural histories and visual perception (Nzegwu, 100).

In works such equally Baptême (Baptism), Dodard conveys a political nature of art criticism (M'Bow, 30), in which Haitian fine art is seen as used and dead; it lacks the spirit or the desire to create because information technology is stolen by the European aesthetic. Baptême expresses the demand to regenerate creativity in Haitian art, and deter away from the usual style of imitating the way of European art. The image of Baptême relates Benin culture; on the seventh day, a Benin baby would go through series of acts for baptism to obtain his or her sense of identity (M'Bow, 30). In this painting there is a figure that has ii different colored faces, a ruby ane with large marks and a yellow one without marks; this shows an identity with the different influences of spirits.

In other works like Troubadour, a effigy is seen playing an musical instrument every bit information technology sings to be informative rather than entertaining. This painting of a singer, with a face of a three-dimension mask, sings songs near history and societies. Also, the spirit is an oral narrator that tells well-nigh the historical breach of countless people; it too helps re-evaluate the desires, beauties, and assets that were stolen from the Haitians' state (M'Bow, 36). The banjo that the figure is holding symbolizes the creativity that Haitians possess to renew and enrich their culture. The musician is leaning frontward which allows for an intimate connectedness to his audience. Dodard's realism and inventiveness aim for others to produce new artistic forms. The cultural norms that were the original centers that Haitians nurtured from are the way Dodard understands Haitian identity.

Like in Troubadour, a figure is playing an musical instrument in Woman and the Mandolin. However, this depiction of a musician in Woman and the Mandolin is abstruse. Abstraction is "a process that recomposes reality to create a new, vital reality that transcends the laws of illusion" (Nzegwu, 102). The reality in Adult female and the Mandolin is inconspicuous equally seen in the partly fatigued and transparent trunk and face of the musician as if to present an illusion. Through abstract, Dodard avoids non just realism, but as well emotionalism. Also, his abstract style is seen every bit restrained, sophisticated and intellectual. Dodard uses the same strategy that Picasso uses in his paintings to reverse three dimensional forms to his two dimensional canvas with flat and angled planes (Nzegwu, 108). The musician in Trobabour leans forward whereas the musician in the Woman and the Mandolin leans dorsum; their disposition conjoined with the mood of the painting allows for insight on the genre of music existence performed. The Trobabour, painted with dejection and morose reds, suggests that the musician is playing a slow or sad melody to his audition. On the other paw, the Adult female and the Mandolin, painted in light yellows, suggests that the musician is playing an upbeat melody. Through music, Dodard shows another aspect of Haitian culture, in which spirits motility to or communicate through dissimilar tunes.

In conclusion, the value of Haitian art came a long way in the twentieth century. But before Haitian, there was African art that was seen as "primitive" because Africa was seen as Dark Continent and Africans were considered to accept made no contributions to human culture, let alone European art. Through the contemporary Haitian art that Dodard generated, information technology is obvious that creativity and aesthetics derive from African art because of his use of masks. Dodard'due south incorporation of masks relates Haitian civilisation to the African Diaspora, in which the history and spiritual beliefs of Haitians are derivatives of African culture.

Moreover, Dodard incorporates history and the supernatural within his naturalistic brush paintings and abstractions. In Parole d'Ile, Eternité de Mes Songes, Baptême, Trobabour, and Adult female and the Mandolin, spirits are present in nature and within bodies, where they communicate through language or music, and take an influence on Haitian civilization and history. The Magic Wedding and Open the Gate is profound in the sense that they illustrate a juxtaposition of thought-provoking paradoxes, where the spiritual divinities disharmonize instead of converse; the good spirits of the land lookout man and protect the Haitian culture from the bad spirits. Dodard'due south depiction of Haiti through his art shows that Haiti is a lively, spiritually involved tropical area, where its civilisation is afflicted by its environment; his art also shows that Haitian identity is within the dazzler and history told by the Haitians themselves. Although Haitian art is derived from African art, the ideology of universalism calls for distinctions within different societies; the universalism in art should be read as an "articulation of the local, the specific of voices, of positioning, of identity, cultural traditions, histories and these are the weather condition for the enunciation that allows us to speak"(Chiliad'Bow, 26).

Bibliography

"A Profile of Philippe Dodard." Africa House-Art and Decor. 05 Oct. 2008. Africa Resources Center, Inc. 08 Nov. 2008 <http://www.africaresource.com/house/a-contour-of-philippe-dodard.html >.

M'Bow, Babacar, ed. "The Maroon in Modernism: Aesthetics and Theoretical Contestations in the Work of Philippe Dodard." The Work of Philippe Dodard: the Thought of Modernity in Contemporary Haitian Art. Haiti: Educa Vision, 2008. 1-248.

Nzegwu, Nkiru. "Dodard and Modernism: A Radical Evaluation of Haitian Gimmicky Art." in M'Bow, Babacar, ed. The Work of Philippe Dodard: the Idea of Modernity in Contemporary Haitian Art. Haiti: Educa Vision, 2008. 85-138.

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A Profile of Philippe Dodard

Sunday, 05 October 2008 xiv:eleven

A profile of Philippe Dodard is an internationally acclaimed Haitian artist who lives and creates from his home in Republic of haiti. As one of Caribbean'southward leading contemporary artist, his success demonstrates the visionary ability of Haiti visual fine art that has connected to command international attention.

Artist Biography

Built-in in Port-au-Prince, Haiti, in 1954, Philippe Dodard is a leading contemporary artist of the Caribbean and the African Diaspora. His artistic evolution was a serial of steps, leading to major solo and international exhibitions including, Arte Americas (2008), the Venice Biennale (1999), Biennale of Latin American Drawings, Santo Domingo (1997), and the Biennale of Caribbean and Central America Art, Dominican Republic (1996). Dodard attained international prominence by rejecting the 'primitive', 'naïve' classification that dogged Haitian art.  His paintings— Eternité de Mes Songes, Parole d'Ile (2005), Flûte Enchantée (1999), the Kosovo serial, Femme aux Trois visages (1989), and Syncretism (1991)—are non any kind of works, states Michelle Frisch, Director of the Marassa Gallery in Port-au-Prince, Republic of haiti.  "They were similar mnemonic devices . . . created at a moment of Philippe's coming to term with the forces that texture the Caribbean ethos". Dodard superbly composite Haitian, Caribbean and African iconographical elements to create deep complex forms. His recent selection of themes, Initiation, Consternation and Baron-Samedi reflects his transformation into "a human Poto-Mitan," the channeling pole at the middle of the Vodun temple through which the spiritual forces descend to the oumphor (temple).

Artist Statement

The most important influence that I had was at the schoolhouse of Photo-Mitan (1970) with masters Tiga (Jean Claude Garoute) and Patrick Villaire. Both of them developed the concept of contemporary Haitian art inspired from the popular tradition. While with Tiga and Patrick Villaire, I studied the principle of artistic rotation that put the student in contact with the different media every bit colors, dirt, sound, inks, ceramics, poesy, movement in society to have a consummate expression of the inner self, free from whatever preconceived definition of art.

I learned to develop a harmony between painting, sculpture, cartoon, words, and audio to really express myself through the essense of love that I detect in every human existence. I find that every drop of nature that nourished my babyhood, in every result in my life, good or bad, built my personality. I consider art to be the luminous breath of the homo spirit. A glimmer of light that inspires love.

Selected Solo Exhibition

2008 Arte America 2008, Miami Beach convention eye, Miami Floride.
2007 Me and the Miror, GMI Art Gallery, Miami Floride.
2006 The Thought of Modernity in Haitian Contemporary Fine art, Broward County Library, Florida.
2005 Origin, Wheelhorse Gallery, Greenwich, Connecticut.
2003 Vibrations des Iles, Galerie Soleil, Montréal Canada.
2003 Papier Sensible, Galerie Marassa Pétion-Ville Haïti.
2001 Bonjour D'Haïti, First annual Haitian Cultural Heritage Month, Miami, Florida.
2001 Voile Métallique, Painting & Sculptures, Galerie  Marassa, Pétion-Ville, Haïti.
2001 A Trip the light fantastic toe of Celebration with John & James Biggers, Water work Visual Fine art Center, NC.
1999 Robert Ferst Center for the Art, Georgia Institute of Engineering, Atlanta, Georgia.
1999 Words of Light, Indiana Perdue University, Indianapolis.

Selected Grouping Exhibitions

2007 Salon du Dessin Fondation Arawak, Musée d'Art Moderne, République Dominicaine
2007 Contrechamps avec Ronald Mevs, Marithou et Marie Helene Cauvin, Galerie Jérôme, Haïti
2006 La Tohue avec Galerie Jérôme, Montreal, Canada.
2004 "Kafou Marassa", Galerie Marassa, Haïti
2003 "Abbaye de Daoulas": Vaudou, Daoulas, France.
2000 "Invented Realities" Crimson Valley Museum, Texas, UsA
1999 48e Exposizione Internationale d'Arte, La biennale de Venezia Italie.
1999 "Una vision pictorica de la Hispanola", Museo de las Americas, San Juan, Puerto Rico.

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