The Pittsburgh Tribune-Review
Pitt exhibit showcases visions of Haiti
By Kurt Shaw
TRIBUNE-REVIEW ART CRITIC
Sunday, February 18, 2007
It's hard to resist Haitian art. With its characteristic kaleidoscope of colors
and fantastical figures, whether they be human or animal, sometimes are so ebullient
and full of life they seem as if they will literally dance off the canvas.
What's not to love?
But underlying such effervescent beauty is another story altogether. If, as
the saying goes, from chaos comes beauty, then by all means, Haitian art is
the quintessential example.
Nowhere is that more evident at the moment than at Pitt's University Art Gallery.
That's where visitors will find "Revolution, Ritual, and Remembrance: The
Art of Haiti," an exhibition of more than 60 paintings, decorative flags
and sculptures featuring the rich history and contemporary life of the nation
of Haiti.Sure, there are paintings full of revelers taking to the streets, like
Andre Normil's "Carnival," and sumptuous celebratory meals, like that
depicted in "Wedding Feast" by Rigaud Benoit. But, says University
Art Gallery director Josienne Piller, these examples -- especially what's depicted
in the latter painting -- are not the norm.
"You see these images of beautiful trees, fruits and vegetables, but it's
all imaginary, because people down there are always hungry. There's nothing,"
Piller says. "They're so poor. It's hard to even imagine the level of poverty.
There's something like a 70 percent unemployment rate if they could even count
it. Nobody has anything."
Haiti was always a troubled country. Just two years after Haitians gained their
independence from the French in 1804 by means of the only successful slave revolt
in the New World, the country was mired in a bloody civil war. Throughout the
following centuries, the nation found itself under the control of many dubious
forms of government, culminating in Haiti's present government headed by President
Rene Preval. He has promised peace and stability for the nation that has not
seen much of either.
The tumultuous events that have occurred throughout Haiti's history have remained
in the memories of its citizens and are expressed in many of the exhibition's
pieces.
For example, three paintings by Dumerlus Jeune from 2004 that commemorate Haiti's
bicentennial depict the slave rebellion in Haiti in the years leading to Haiti's
declaration of independence in 1804.
Several pieces relating to the 20th century cite the 40-year dictatorships of
Papa Doc and Baby Doc Duvalier. In Jean Venet Senatus II's "The Power of
the Hat," Francois Duvalier (Papa Doc) is depicted on a balcony throwing
scads of his signature black hats into a crowded street on election day. As
they land, they destroy buildings and injure people.
As notorious as the Duvaliers were, so too were their secret police, the Tonton
Macoutes. They appear frequently in Haitians' paintings, usually off to the
side, leering at the goings-on depicted, like the one in the aforementioned
painting "Carnival."
In Fritzner Lamour's "Grooming Young Macoute," the Macoutes are the
main subject. Only here they are depicted as a chicken family, in which the
father prepares the son for school.
Piller says the painting is more about privilege than power. "They had
power, but they also had privileges and especially food in a society that doesn't
have much of any of those things," she says of the Macoutes.
As for Lamour depicting them as chickens, well, "In order to sort of slide
under the radar, people are represented as animal forms," Piller says.
"So if someone says, 'Hey, you're representing this or that,' the artist
can say, 'no, this is just a chicken, giraffe or alligator.'"
Throughout history, times of political strife have led to religious fervor.
Ritual and religious practices also have aided the people of Haiti through their
struggle to keep their culture and nation alive. These practices have become
a major component in Haitian art. Especially Vodou -- the Creole word for voodoo
-- which is practiced throughout Haiti and has become a part of its culture.
Vodou evolved in the 17th century. French colonizers forced African slaves to
practice Roman Catholicism, but many secretly remained loyal to their African
religions by adopting Catholic saints to coincide with African spirits. Hence,
The Virgin Mary became Erzulie, the goddess of love, and St. Jacques became
Ogun, a warrior spirit.
That's why visitors will find a few images of the Virgin Mary and St. Jacques
among the many paintings of zombies, voodoo ceremonies, sequined voodoo sculptures,
ritualistic objects and the like
.
Of all of the works on view, one painting stands alone for combining many of
the above notions. Titled "Bourique Chaje," the painting by Fritz
St. Jean shows a boat packed with people, a few desperate hangers-on around
its rim, as it floats to the sky above the island of Haiti, as if trying to
reach God for an answer.
In the harbor, a small boat is on fire, not far from the Statue of Liberty,
which lays on its side damaged and broken. At the time when it was painted in
1992, Haiti was under an American embargo and a military junta led by General
Raoul Cedras was terrorizing the country.
This painting comments on just one of the flashpoints in the country's tumultuous
history, yet somehow speaks about the entirety of that history with one powerful
yet desperate image.
Related programs
All programs are free and are in the University Art Gallery:
Open Mic Event: "The Spirit of Haiti": With host Nathan James. 6 p.m.
Feb. 23.
Gallery Talk: With Ian Rawson, chief executive officer of Hopital Albert Schweitzer,
Haiti, and Lucy Rawson, president of Friends of the Hopital Albert Schweitzer.
5 p.m. March 1
"Images of Haiti: Dumpster Deities and Other Paradoxes": Talk by Bill
Bollendorf, director of Galerie Macondo. 5 p.m. March 15