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and fauna that mimic a tropical garden embellish walls of a rose-colored space, lit atmospherically and enhanced with drawings on wood that represent personal gifts to the artist. Stencils of dark leafy vegetable greens adorn the floor. An ornate dresser displays drawers that have been lined with velvet embroidered with the romantic poetry, Rumi and
Langston Hughes which the viewer is invited to open. Philogene concludes the intent as existing "to explore the relationship between language and material, between allegory and narration, asking how do desire, yearning, want, and need operate the historical process of cultural transformation that highlights diverse African diasporic experiences."
99:(born 1967) is an American visual artist who lives and works in New York City. Her works reflect the complex dynamics linking two important geographic markers: The Caribbean and the United States. Her parents' migration into the United States allowed her to receive an education in fine arts and become a mix media artist. Her work includes paints, drawings, sculptures and others. Today she has a variety of work collections that have been displayed in numerous exhibitions within the United States and abroad.
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fluidity of a diasporic experience. This work shows modern
African-American icons such as Harriet Tubman and Bob Marley as archetypes of African and Caribbean descent throughout a total of twenty-two art pieces in an effort to create a universal connection. Throughout these pieces of work, she uses visuals and symbols that are unbound to any culture or part of the world. Some of the titles include Zaka Du Bois, Ella Yamaja, and Ti Jimmy Danto.
193:. Two projected silhouettes of the artists tackle contemporary issues related to their island of origin that includes both Haiti and Dominican Republic. Speaking in a mixture of French, English and Spanish and Haitian Creole the silhouettes talk back and forth about an environment of equality and collaboration rather than one of friction. On another wall
223:, screen print and collage, comments on politics, underrepresentation, and tensions between countries Haiti and the Dominican Republic. Through this work, she also comments on the concept of repatriation and the struggles of the citizens of these two nations as a result of political decisions in these two governments.
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Her work has been included in El Museo del Barrio and Exit Art, both in New York City; the Museum of Latin
American Art, Long Beach, California; Centro Cultural de España, Santo Domingo; the Perez Art Museum Miami, Florida; and the Grand Palais, Paris. In 2003 she won the solo exhibition Prize at the
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title is taken from Jimi
Hendrix famous song, The Voodoo child series is an extended self-portrait, in which the artist reinvents the traditional machann (peddler) to travel through history and art history. The layering of both materials and imagery in these collages, often echo the early training of
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2018, FiveMyles
Gallery. In the catalogue essay for the solo exhibition, Jerry Philogene quotes Audre Lorde, "Our visions begin with our desires." In this elaborate installation, Charlier reinvents a European boudoir, a quintessential feminine space, and one of female resistance and resilience. Flora
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parents. She moved back and forth between the United States and Haiti in her childhood, attending both primary and secondary schools in Haiti and then spending her summers in New York. Within this context, she explores her "in-between-ness" in her art as it relates to these two different geographical
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Echoing the tourist trade of the 1960s and 70's, black and white jungle-like flora and fauna wall drawings taken from childhood encyclopedias are confronted by rows of crayons installed as votive candles. Viewers were invited to symbolically color the installation that was presented at biennial de
177:'s paintings "focus on the island's history of maroons - communities of runaway slaves that settled mountainous areas of the island," and reflect on the loss of history and amnesia of race due to Trujillo's "whitening" campaign. In the same exhibition is a collaborated installation by Charlier and
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was started early in
Charlier's career during a residency at the Studio Museum of Harlem. As if a cast of the Haitian laws had landed in Harlem, African American heroes/sheroes cloaked as traditional Catholic Saints invite the viewer to examine ideas about the construction of identity and the
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and cultural points. This leads to her work relaying elements of identity and how others understand their own culture. Her work often incorporates religious, spiritual, and Afro-diasporic elements and symbols from these two cultures into a unified image.
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Portraits of prematurely deceased male relatives are enshrined as photographic sections of bodies placed in altar-like recessed niches. Beaded and sequined Voodoo flags allude to traditional craft, healing gestures and mark an embattled
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combines the sculptural inner tubes made of rice paper beaded to resemble Voodou flags, signature elements respectively of Garcia and
Chavelier's individual practices.
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Caribbean
Biennial at Museo de Arte Moderno, Santo Domingo; and also participated in the Cuenca Biennial, Ecuador, and the Biennale di Venezia, Italy.
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mixes tiny 18th century soldiers with long white spears projecting into huge swarths of tropical foliage. As described in a catalogue essay by curator
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Curator, Abigail Lapin
Dardashti; and Artists: Freddy Rodriguez, Fabiola Jean-Louis, Scherezade Garcia and Vladimir Cybil Charlier
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at BRIC Gallery that visually explored issues of this specific
Caribbean diaspora. Charlier's painting on wood,
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BFA from Queens College, and MFA from the School of Visual Arts both of New York, New York
388:"Bordering the Imaginary: Art from the Dominican Republic, Haiti, and their Diasporas"
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Bordering the Imaginary: Art from the Dominican Republic, Haiti, and their Diasporas
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Bordering the Imagery: Art From The Dominican Republic, Haiti and Their Diasporas.
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324:. Miami, FL: Alyans Atizay Ayisyen (Haitian Cultural Arts Alliance).
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Also at the BRIC exhibition Charlier presented a video animation
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88:(discussion at Bric Gallery 2018) during the exhibition
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293:, The Studio Museum of Harlem, New York, New York
62:Painting, Drawing, Installation, Sculpture, Video
115:in 1993. She was an artist in residence at the
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456:"A Strange Bath by Vladimir Cybil Charlier"
117:Skowhegan School of Painting and Sculpture
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417:Envisioning an Afro-diasporic Cosmology"
411:Charlier, Vladimir Cybil (2023-01-02).
322:Contemporary Expressions of Haitian Art
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454:Studio, Coronado Print (2020-07-12).
415:Pantéon: When the Saints Go Marching!
257:FiveMyles Gallery, New York, New York
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496:American people of Haitian descent
291:Haiti nan/through/á travers Harlem
167:Soldats Marrons (Maroon Soldiers),
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275:, OGT Gallery, New York, New York
266:Skoto Gallery, New York, New York
241:Santo Domingo as Paradise Lost.
107:Charlier received her BFA from
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516:Artists from Queens, New York
433:10.1080/00043249.2023.2180275
215:the artist as an oil painter.
183:Memories of a Utopian Island:
111:in 1991 and her MFA from the
121:The Studio Museum in Harlem
42:1967 (age 56–57)
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119:(Summer 1993) and then at
336:"Vladimir Cybil Charlier"
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273:The Politics of Paradise
340:Studio Museum in Harlem
171:Abigail Lapin Dardashti
97:Vladimir Cybil Charlier
39:Vladimir Cybil Charlier
20:Vladimir Cybil Charlier
511:Haitian women painters
320:Damian, Carol (1994).
189:in collaboration with
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386:aclark (2017-12-20).
131:Charlier was born in
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298:Collections, awards
264:Recasting Paradise,
255:Desire, Johnny Was,
228:The Map and Requiem
187:Conversation Thread
127:Cultural background
195:Borlette (Lottery)
151:DESIRE, Johnny Was
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421:Art Journal
123:1996-1997.
480:Categories
465:2023-11-24
397:2019-06-22
372:2019-06-17
345:2023-11-24
307:References
441:0004-3249
367:FiveMyles
103:Education
51:Education
232:history.
137:Haitian
67:Website
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363:"Past"
282:Endezo
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