Patrice Piard left Haiti more than thirty years ago, but he will never be able to blot out the strong memories he has of the Caribbean island and particularly his birth city Camp Perrin. His paintings scream Haiti, especially his perspective of it at the time of his departure. There’s the painting “Merilia” in which he depicts a market woman, surrounded by fruits from her farming land. He’s especially fascinated with members of Haiti’s farming community. In the painting “To The Road”, a countryside resident crosses a river on his donkey, his saddle filled with fruits.

Piard’s paintings have been exhibited all over New York, and at galleries and exhibits outside that state. The New York Times as well as the New York Daily News have fawned over his art.

Kreyolicious: Do you remember the circumstances that led you to create your first piece?
My first significant piece was a depiction of Christ standing above the sellers in a market place. It was inspired with the idea of showing the relationship between the poor in Haiti and their continued belief in Christ.

Kreyolicious: Out of all the pieces you’ve created, did any one of them prove to take such a toll on you creatively that you vowed never to paint again?
No. I have yet to create a piece that has taken such a toll on me that has made me not want to paint again. If anything, all of my pieces have motivated me to create something stronger.

Kreyolicious: What keeps you motivated?
My motivation comes from two things. Firstly, it comes from the vivid memories that I have of Haiti and how I want to give people—all people—the opportunity to know and understand the real Haiti. Secondly, my motivation comes from the response I get from others about my pieces. The more questions people ask, the more I feel the need to create to give answers.

Above: A Patrice Piard creation!

Kreyolicious: So far, what do you consider the crowning moment of your artistic life?
At this moment, I would say that I haven’t exactly reached the crowning moment of my artistic life. This moment for me will exist when I have a total of at least 200 paintings in my personal gallery.

Kreyolicious: What should we expect from you next?
From me, always expect vivid colors and stories. Expect that my creativity will grow, and I will continue to produce works of art that will make those that know Haiti, remember Haiti—and give those who have never been—the opportunity to dream of Haiti.

CLICK HERE TO VISIT THE PAINTER’S WEBSITE AND PURCHASE OR COMMISSION A PAINTING! PATRICE PIARD ON MEDALIA ART|

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Culture played a significant role in the emergence of visual artist Kiki Toussaint. Born and raised in Long Island, Kiki was sent to Haiti by her parents to Haiti. After graduating from high school in Port-au-Prince, she moved back to the United States where she attended Long Island University. From there, life took her to Las Vegas where she currently lives with her family. Out of all the moves she made, she feels that her years in Haiti played the biggest role in her creativity. “Even before I moved to Haiti,” she says, “I understood through my parents that Haiti has a rich tradition in music, dance, and art.”

Art is, of course, the tradition that Kiki prescribes to. Women are the subject of practically all her paintings. The women she portrays in her works have a nonchalant air, a defiance to them, and lots, lots of attitude.

Kreyolicious: How did you find the artist in you?
I lost my father on January 12, 2010. After the earthquake, I tried everything in my power to get to Haiti. Only people in the medical field were able to travel there. I even considered flying down to the DR to see if I could make my way to Haiti from there but it was way too risky to do alone. I felt so disconnected and far away from Haiti that I drew the Haitian coat of arms on a canvas and began to fill it in with sequins and beads. Not in the same fashion that “drapo” is made but visually it appears similar. I distinctly remember watching Anderson Cooper report on survivors while I pieced together my coat of arms with glue in one hand and tweezers in the other. It was my connection to Haiti. To help me work through my pain, I started a blog where I mentioned street merchants selling various goods. I decided to paint one, I knew I wasn’t a painter, but I figured it can’t be too hard because Haitian art is known for being “primitive”. I tried to make the image as primitive as I could but wasn’t content with it. I kept refining it over and over until I came up with my first piece which I call “Machan Feuille” [Herbs Seller].

Kreyolicious: So you’re based in Vegas. Is there a huge Haitian-American community there?
There isn’t a huge Haitian-American community in Vegas. It’s pretty small especially in comparison to New York and Florida. I know of a church, a small store that carries some spices and talk radio that airs on Sundays. I think once a year a party in thrown in the park, but for the most part it’s small.

Kreyolicious: Do you think that art education is something that should be emphasized in schools?
Absolutely! I believe art allows a child to express themselves which in turn boots self confidence. Art allows you to develop emotionally, mentally, and socially. It gives a kid the freedom to bring to surface what’s inside of them without judgment. I think it also helps with problem solving. Have you ever watched a kid paint and when they’re completely satisfied with the last stroke, they lay the brush down and throw their hands in the air and say “finished” watching that is such a great feeling!

Kreyolicious: Has a painting every made you cry out of frustration?
Good question! Cry? Never! Stress? Absolutely! My most difficult painting was “La Cubana”. She sat unfinished for a long time because I hadn’t tackled a project with so much detail, I was afraid I wouldn’t get what I wanted. I didn’t know how I was going to make here wrinkles as crisp as I wanted them. I just kept going until it worked. There was a point when I kept adjusting her gaze because she kept staring out into nowhere, and I wanted her to look at straight at you. Once again, with trial and error, it eventually worked.

Kreyolicious: Would you say that your parents have been supportive of your career choice?
Always supportive. My poor parents. [Laughter] They’ve dealt with a lot because I was all over the place.

Kreyolicious: I notice that you paint women more than any other subject. Who’s the strongest woman you know?
Goodness that’s a tough question because I don’t have just one. I come from a long line of strong women, each generation dealing with challenges of that era. I remember when the earthquake happened so many people were on Facebook reposting each other’s timelines in order for news to circulate and keep people informed. After I learned of my father’s fate, I posted it on my timeline to thank everyone who helped and instead of putting Facebook away, I continued to help circulate news of loved ones by posting and reposting. I received a private message from a friend who’s name is also Kiki. The message said, “Ou se yon bon jan fanm lakay” [You’re a real woman]. Simple words, but I took so much pride in that message. I hope to one day join the ranks of my long line of strong relatives. I paint women especially old women with wrinkles because their faces tell a story. I have respect for old women—women who carry the so much on their shoulders, women who have pain written all over their faces. I paint women because women are the backbone of our country.

Kreyolicious: Do you think that the fact that you live in an exciting state like Nevada has had an impact on your art or given you a sense of urgency as an artist?
Las Vegas is just now emerging onto the art scene. The sense of urgency is lower than it would be if I lived in a major city with more appreciation for culture.

Kreyolicious: Do you visit Haiti often and what affect has that had on your artistry?
I don’t visit often. The last time I visited was after the earthquake.

Kreyolicious: What would you say has been your biggest moment of triumph?
I know this is not related to art, but it would have to be my son. I was told by three doctors that I would never conceive. After four years of trials and tribulations, we started to consider adoption when I was blessed with my baby boy.

Kreyolicious: That’s awesome…What advice would you give to the Kiki Toussaint that was just starting out?
I would say stick to what pleases you and create what you want to surround yourself with. The right audience will appear.

CHECK OUT KIKI TOUSSAINT ON FACEBOOK| CLICK HERE TO VISIT KIKI TOUSSAINT’S WEBSITE AND COMMISSION A PAINTING!

Gina Samson’s world is full of trips, exhibits, and painting sessions. It’s a wonder she’s able to put some time aside to do interviews. This past September, she and four other artists of Haitian descent, took part in a joint exhibit at the Harlem Fine Arts Show during Congressional Black Caucus Week.

How did her path as an artist begin? In childhood, like most visual artists! But lots of would-be artists tend to get derailed by self-proclaimed critics—whether teachers, parents, peers, and other folks in their surroundings. If this was the case with Gina Samson, how did she get the gumption to continue? Let’s get the answer to that question and a whole lot more in this two-part interview!

Kreyolicious: What childhood memories do you have about art?
Growing up in Haiti, I remember seeing high color everywhere, and I absorbed early on that our culture encourages expression through art at any level and for every occasion. I often visited the section of Marche en Fer, a lively scene where arts and crafts vendors were showing their wares every day: woodcarvings, elaborate decorated baskets, handmade dolls, and paintings of landscapes and every day life. Around the market were buses and public transport with embellished flatbed trucks, where the passenger seating areas is a wooden addition profusely decorated with flowers and proverbs. Nothing was left plain, and I remember houses with their bright doors and windows, and the very typical signage for stores that was hand-painted for the most part. While there was material deprivation, art seemed accessible to everyone as a part of daily life.

As a child, I was fortunate to visit the studios of two admired painters, first Nehemy Jean when I was just a five year old having drawing lessons with this master, and as a teenager seeing the gallery and studio of Claude Dambreville. I was very affected by those experiences, and that is where I formed a very concrete desire to be able to become a painter in the future, and started to crave being able to create art and have access to more complex artworks.

Kreyolicious: Lots of people who start painting get sidetracked or stop altogether because of comments they get about their premature efforts. What kept you going from the beginning to the artist you are now?
My first foray into exhibiting was a juried show of art made by young people at the German Consulate in Port-au-Prince. My High school art teacher submitted my two large scale charcoals and I obtained third place. That was encouraging.

After creating pieces for many years without showing them, I took the plunge twelve years ago, and on impulse, joined an artist-friend who was submitting work for a show, and just kept that going. What I learned from those early shows is that an artist is part of a process of communication, not only to create art to express a thought and moment and feeling in the work, but also to start conversations and exchanges by opening this experience to others.

There is a vulnerability in putting your work out there—when you have invested your thoughts and efforts and artistic skills. And, once you accept that, you will receive feedback and comments pro and con, it becomes a rewarding exchange. You hope that people enjoy or learn from [your] work—as is appropriate and relevant to them. They may not like the work or not relate to it in the way you anticipated. You allow this to happen and let the public take in the work and interact with it in their own way. Of course, it helps to be able to explain to viewers and collectors what you mean to express and what the piece means to you personally, but pretty much, once you are showing your work, you have to let go and avoid trying to control the experience. The best outcome is to have a body of work that resonates and is well-received…to be true to yourself, and your inspiration and message. And hopefully, to find good homes for your work by attracting collectors.

This concludes PART I of the interview with Gina Samson…Watch out for PART II…Meanwhile…

CLICK HERE TO VISIT GINA SAMSON’S WEBSITE! AND DON’T FORGET TO COMMISSION A PAINTING BY GINA SAMSON!

Painter Gina Samson has lived the path of the visual artist and painter. While drawing on her innate talent, she also studied art at the Fashion Institute of Technology and the New York University School of Continuing Education. Her paintings were part of the prestigious Harlem Fine Arts Show, and were on display at DC’s Carnegie Library in early Fall of this year.

The first phase of our conversation centered around her childhood, and how she tackled naysayers in the early stages of her career. The conversation continues…this time about the art business, and her future as an artist…

Kreyolicious: What inspired the last painting you completed?
Recently, I was approached to take part in a mural project in Harlem, aiming at placing representations of historical figures produced by local artists, to enrich and inspire the neighborhood, so I prepared a prototype for the proposal. The mural I visualize represents a vision of Sojourner Truth, as a brave and unconventional woman who embodied a message of faith, freedom and empowerment not just for herself but for women and the oppressed in general, and often presented this message to hostile audiences at great risk. When I think back [to] that choice, I see that it is a reflection of my experience as an immigrant, an artist from Haiti living in the United States, being a part of this community with a shared future. In this work, I am feeling the influence of Haitian art and history to produce a piece on an African-American historical figure who particularly inspires me.

Above: Motherhood, as portrayed in a work by Gina Samson.

Kreyolicious: How important is it for visual artists and painters to be involved in the business aspect of their art?
Very often, I am asked how long it took me to produce a particular piece. The real answer is that every piece reflects what I have experienced in life up to that point, not only the actual hours spent creating it, another artist likely said this before. It is not easy for an artist to make a living exclusively from art, and I am of the opinion that an artist does whatever it takes to be able to continue to create.

Quality original art is a bit costly because it’s not made on an assembly line. So, artists try to find a balance between keeping original artwork affordable and being fairly compensated for their work.

Just as any in other profession, artists have to network and cultivate exposure and a following, and promote their work in person, online and by seeking exhibition and selling opportunities. It is not only about creation: selling and distribution are additional skills and an investment of our time that we artists need to grow more comfortable with.

Above: Gina Samson’s portrait of Sojourney Truth.

Kreyolicious: Some writers say a lone room with their writing instruments is all they need to create. And you…How do you set up your workspace?
My workspace is a work table by a window with my materials and an easel – being alone is not necessary although quiet and music are better for the work flow and concentration. I also keep a small notebook with me so that I can sketch ideas that may come up during the day. I’m often thinking about a piece I’d like to create, and when I am out in public I especially scrutinize faces (without staring of course!). These observations come back to me and are reflected in my figurative work.

Kreyolicious: Did your parents and educational background pay a strong role in your growth as an artist?
My parents did not directly push me toward being an artist, however they knew some of the leading artists, and appreciated Haitian paintings. They had an interest in cultural activities, music, there were always plenty of books around, encouraging intellectual curiosity. My educational background included high school art workshops, and that gave me the confidence to continue to pursue development of those artistic skills through more workshops and self-directed efforts through today.

Above: Gina Samson is at the far right poses with fellow Haitian-American painters during an art show.

Kreyolicious: What are you most proud of?
When I look back at the past decade of working and exhibiting in the USA, I realize that it has been such a rewarding journey. From seeing the evolution of my style from being representational to moving towards more expression, symbolism and abstraction…being able to join the influence from Haiti’s culture with my experiences in the US…benefiting from mentoring and encouragement from established artists of the diaspora, working on projects and exhibiting with artists from many different countries as well…I am thankful to experience this professional growth and to be an active participant in the artistic community in New York…being invited to exhibit in galleries and restaurants such as Grandchamps in Brooklyn, and reaching more people through art. It’s also great to conduct workshops for the young artists that I currently work with.

Kreyolicious: You’ve been to Haiti recently? Did you get the chance to explore the art scene?
It is on my bucket list to have the opportunity to exhibit jointly with artists currently working in Haiti as a cultural bridge. I feel there is not enough exchange between the artists active in the US and those in the current art scene in Haiti. Having the joint exhibition would start a great conversation about the evolution of those two communities and their paths to today’s artistic expression.

Kreyolicious: Where do you see yourself two years from today?
Most likely, I’ll be working on a new series that I have not yet thought of, along with the music themed pieces I am working on now ! I’m working toward finalizing new projects such as the mural in Harlem, and expanding the reach of my work through exhibitions outside the US.

This is the concluding part of the interview with painter Gina Samson. If you missed PART I, CLICK HERE!

CLICK HERE TO VISIT PAINTER GINA SAMSON’S WEBSITE, AND SEE MORE OF HER WORK! AND DON’T FORGET TO COMMISSION A PAINTING!