Exhibit Treal is coming fast at us…faster than a bright color leaking from an artist’s paint brush. It’s an initiative co-created by the Palm Beach-based visual artist, and art curator known as Jason “JaFleu” Fleurant, and it’s a movement that has urban creatives in the West Palm Beach/South Florida area connecting with one another, while sharing ideas. While it’s being promoted as a creative haven for visual artists, creatives of all passions have been looking towards it as an outlet to filter out promoting strategies, network with other creatives, and publicize their artistic and other endeavors.

So, Jason…Jasun…you’ve been up to so much lately. Let’s start off by discussing the last three paintings you worked on?
Now that’s surprisingly difficult these days. I’ve kinda of took a pretty extended break from painting the last few months to focus on what I’m doing now with Exhibit Treal. But the last three that really stick in my head was these large scale paintings. We’re talking seven feet each.

The first being “Oshun: The Orisha of Love. I just wanted to pay homage to the black goddess, and I used features I loved from various women I’ve dated to create her.

Then there’s “For My Negus with Daughters”, which was basically my ode to black fathers everywhere. Because for myself, I know a lot of men who are real fathers so I wanted to combat the images the we are often shown.

Lastly, there’s another painting, and it’s probably my favorite. [It’s called] “Graduated with Hiii Honors”. At the time, my [social media] timeline was flooded with photos of all these amazing women I knew graduating from colleges, and I wanted to show love to them.

I particularly enjoyed the process of making this one because I painted it outside on my
then-porch when I lived in an artist residency [facility]. We lived in what some call the hood, but to me it was just home. Everyone was cool and they loved to just come see me work. I’d just [leave my] art outside overnight and nothing ever happened to them. It would be more concern of the galleries trying to take it. The best part was seeing how inspiring it was for them all. That inspired me.

Kreyolicious: How did you new initiative Exhibit Treal come about?
I’ve been curating exhibits and art shows for a while. Again, taking it back to the artist residency where I lived. We just took advantage of the four walls of the apartment and them exhibits in there.

Kreyolicious: Catchy name by the way.
Thank you. For some reason, I couldn’t get Jay Electronica’s “Exhibit C” song out my head. And at this point, my friends and I were saying “treal” a lot ’cause we felt that was another level…something to aspire to. To always be truly real. And I just wanted to focus on exhibits that we felt was treal, so we started calling the shows that, and it stuck.

I wanted to use it as a vehicle to give opportunities for black artists in Palm Beach and further[more as a way] to always give back in some fashion. To me, that’s what’s treal…using the arts to be a factor and make a difference in the community. Things mentally I’ve always already believed and acted on. And the dope thing is other artists believe in it. Particularly Tracy Guiteau…the co-founder. She really just one day said, “I believe in this, and that it can be big.” So we just decided, “Let’s do this,” and here we are several shows later. It’s been crazy—a real blessing from God. We’ve got our motto “Be Safe. Keep what you Kill. Stay Treal”, but I think the thing that really explains our mentality is we say amongst ourselves a quote from the movie Juice: “No one man above the crew”. As long as we all move as a unit, nothing can stop us.

It’s also sort of an artist’s development. Tracy and myself have gotten a lot of knowledge over the years, so we help guide artists we work with best we can…while letting them be themselves and grow naturally.

Above: A JaFleur painting entitled “Graduated with Hiii Honors”.

Kreyolicious: What’s the art scene like in the Palm Beach area?
It’s a mixture of your typical art scene and it’s—I guess—slowly trying to emulate Wynwood in Miami. There’s been a lot of usage of art to gentrify black areas…And I personally just see Exhibit Treal as kind of the clap back to that. We’re just trying to show the Treal side of things while not getting caught up in the bs. I love where I’m from and there’s a lot of talent that needs to be appreciated, but not just visual arts. So, we work to push and promote black art in all ways.

Kreyolicious: What’s your advice to other visual artists…those just starting out?
You’re gonna laugh, but it’s simply to…be safe. Keep what you kill and stay Treal. Always be aware of the situations whether it’s dealing with galleries, collectors or anyone trying to just use you. Always make sure you get the best out of it. Go hard at all times. Leave it all on the floor. A lion doesn’t catch the gazelle to let it go. It keeps what it kills. Always go the extra mile for you and [do] not let anyone take you and your gifts for granted. And lastly, always do what you feel is best and true to who you are and give back. Even if it’s the smallest thing, ripples have long effects.

Kreyolicious: How do you make sure you’re staying on top of your game?
I’d say buy just not trying. I don’t view it as competition anymore. There is more than enough room for everyone. With Exhibit Treal, it’s just a focus on giving your best. I believe that’s what people respect and gravitate towards.

Kreyolicious: What’s next on the horizon?
Only God knows. We are working to put together a Haitian art exhibit among other things. We’ve just started our own book drive which will lead to a book fair and art show where adults are doing book reports. It’s exciting to see grown-ups hype about reading. We’ve things plan as far as youth projects we hope to get off the ground soon…It’s been kinda hectic, but beautiful. I feel I made the right choice backing away from creating art to be able to promote and push other artists. It’s a funny journey for me to sit back and reflect on now as to where we are and going. All praises to The Most High for keeping it treal!

CLICK HERE TO VISIT THE EXHIBIT TREAL BLOG. WANT TO HIRE JASON TO SPEAK AT YOUR EVENT, OR COMMISSION HIM FOR A PAINTING, OR ART PIECES? CONNECT WITH JAFLEU ON TWITTER|

Nadine Renazile should be on your radar. Actually, she should be a big dot, huge dot on your radar.

Above: The artist Nadine Renazile poses with singer Lauryn Hill.

The Haiti-born, New York abstract and mixed media painter is known for melting multiple cultural identities in her work. She says her work expresses themes like displacement, language, race and social class ambiguity and of course, memory and family relationships. Recently, her work was part of singer-songwriter Lauryn Hill’s Diaspora Calling group exhibition.

Nathalie’s work has also been on display at the Smack Mellon Gallery, and her work was in the exhibition line-up at Princeton University’s All-Rise at Robertson Hall. You can catch an exhibition featuring the work of the Columbia University graduate at Selebrasyon, Haiti Cultural Exchange’s Haitian art, culture, music extravaganza going on right now until the end of June.

Kreyolicious: At which moment did you have your first epiphany that being an artist was going to be a huge part of your life?
In 2013 while painting in Studio #16 at the Art Students League, I knew I had found my passion and right then and there I dedicated my life to becoming a painter.

Kreyolicious: Was parental support heavy when you made your intentions known?
I was in my fifties when I started painting; parental support was not a consideration. However, it took a while for friends and family to understand how hugely important painting was to me. At first, they were annoyed at listening to me rave about this gallery show or that museum exhibition, but then slowly they came around to accepting the fact that this wasn’t simply a pastime.

Kreyolicious: Did you ever have to struggle within yourself between being an artist and pursuing something else?
Interestingly, I had just completed a Master’s in Information Management and Knowledge Strategy at Columbia University and was looking into becoming a Knowledge Manager at another institution but then I realized that I wanted to paint full time. I’ve had to say NO a lot! Knowing that I am a librarian and possessing a certain skill set, people have all kinds of requests of me but having waited so long to find the one thing I was born to do, I felt I needed to give it my all and not be sidetracked by other people’s needs. It’s hard for folks to understand, but I’ve been pretty uncompromising about not veering off my path.

Above: From Nadine Renazile’s Earthquake painting series. Photo taken by Gina Marcel.

Kreyolicious: What do you usually do when you have a creativity slump?
I read art books, lots of poetry, visit museums and galleries or I just work through ideas in my sketchbooks.

Kreyolicious: Have you been to Haiti?
I went to Haiti in 2010 two months after the earthquake. It was a life-defining moment. Previous to that time I hadn’t been in decades. In Haiti, all the familiar landmarks of my childhood were gone, the Cathedral where I had my first communion and my elementary school amongst other things.  My old family home in Fontamara was not only gone, but the whole area had become totally impoverished. It was no longer the haven I remembered it to have been forty years ago. It was devastating to see that the social and economic fabric of the country had deteriorated to such extent that people had to live this way.  I was staying in Frère, but didn’t feel very safe there. Despite the high walls everywhere, things were still in disarray. However, I took a side trip to Hinche and fell in love with the interior of the country. It was like time had stopped, young men and women reading their books were sitting in a sweet little park in the town center. People spoke this amazing lyrical Kréyol; they had a great dignity about them. I felt humbled. I think I fell in love with my language then. Although I had traveled there to volunteer my services, things didn’t turn out that way. I did a couple of things, but certainly not enough to warrant saying “I volunteered”. I am still haunted by what I saw there. I’ve been working on an ongoing series about the earthquake for a while now. I hope one of these days to do a residency somewhere that would allow me the space and time needed to work on that exclusively.  

Kreyolicious: What do you wish you had known before launching your career?
Had I known I would have developed this passion for painting I would have gotten both a BFA and an MFA (Bachelor and Masters of Fine Arts).  I think a formal art education would have been beneficial. That said I’ve been pursuing an atelier-style education at the Art Students League in New York and doing art residencies and taking workshops. Mostly, I am developing a practice where I paint everyday, developing my visual vocabulary—that’s the best way to build potency in my art. My brother Erick has an MFA and I was always in awe of his skill set and talent.

Kreyolicious: If you were to make a short list of books that have changed your life…what would make the Top 5?
I’m interested in a world of ideas. I’m a reader, I’ve been a librarian for over twenty years, so my list is deep, but I’ll try to stick with the five requested. A list of best anything is always a capricious endeavor, but here I go:

Siddhartha by Herman Hesse was the first book I read in high school that made me think beyond the obligatory classroom response. It is a philosophical novel. The idea of seeking enlightenment was astounding to me; I was becoming aware of myself as a person. I walked around the house for days in a trance. My parents thought I had gone mad.

A librarian friend, Jean Refusé, gave me this poetry collection by Félix Morisseau-Leroy titled Haitiad and Oddities. This was right after I returned from Haiti and having fallen in love with Kréyol. His “Thank You Dessalines” gives me a thrill each time I read it.

I love James Baldwin’s lucid writing but one in particular, Another Country, is a spellbinding book that raised my black consciousness to another level entirely.  This is black intellectualism at its best.
Like most of Toni Morrison’s books, Song of Solomon is not for the faint of heart. The story of a black family striving is so compelling. Morrison presents black life is such a radical way: unapologetic, unblinking and fierce. The end of the novel, which, can best be described as a flight of fancy, captured my Haitian imagination.

Citizen: An American Lyric by Claudia Rankine. Another poetry collection, this one presents as both a collection of poetry and criticism. This book is a timely meditation on race, violence, racism, and art. This tour de force is poetic and political. I created two paintings based on Rankine’s meditation on Serena Williams.

Above: Another Nadine Renazile painting. Photographed by: L. Blumberg

Kreyolicious: What are some accomplishments that you hope to check off in the next five years?
I want to paint full-time. I’m hoping to get gallery presentation, to continue showing my work and share it in all kinds of ways and grow my artist community. I’d like to be able to make a living while pursuing my passion. I’m trying to develop clarity in my art, be engaging and relevant. And yes, dare I say it, to have my art in museums however improbable the whole idea might seem. I always dream big.

CLICK HERE TO VISIT NADINE RENAZILE’S WEBSITE

CLICK HERE TO LEARN MORE ABOUT SELEBRASYON FROM HAITI CULTURAL EXCHANGE

Native New Yorker Florine Demosthene is a visual artist and educator based in South Africa. The daughter of Haitian parents, she holds a Bachelor of Fine Arts from Parsons the New School for Design as well as a Master of Fine Arts from Hunter College-City University of New York. A self-described citizen of the world, her work has been exhibited all over, including the United Kingdom and other parts of Europe, the Caribbean, and Africa.

There’s something startlingly original about her art. Pieces like The Move in Love look like scenes from earthly life etched in heavenly clouds, but by very capable fingers.

Kreyolicious: What’s it like being based in South Africa?
I’m based in Africa. I move between South Africa and Ghana.

Kreyolicious: What’s the artistic scene like there?
I tend to be more involved in the cultural/ ethnic aspect of each country. This is not to say that I don’t participate in the arts movements, but my drive/passion comes from learning about the unique cultures and cultural practices.

Kreyolicious: Did your parents encourage you towards the career path you’ve taken?
My Haitian parents? Uh uh. I think they are still disappointed that I did not become a nurse. Their plans for my life and MY plans for my life have yet to overlap.

Kreyolicious: Do you go to Haiti often?
No. I do not go to Haiti often, but I plan on changing that very soon.

Kreyolicious: Are there some paintings that you are more attached to more than others?
Each painting is a thought and so I am not attached to any particular one. Once they are completed, I move on to the next one.

Kreyolicious: What would you say to a young woman who’s finished her junior year in college, who loves art, and wants to make a career out of it?
Being an artist, like any other career choice, is all about how much you are willing to dedicate to your craft. Many people often see artists as these laid back individuals, but creating art requires so much hard work. You give up a lot to be good at what you do. So, I will give the advice that my faculty from Parsons gave me: Move somewhere affordable and create a body of work. You should focus your attention on the content of the work you are creating. Once YOU feel that this body of work is complete, then begin submitting to art calls, residencies, etc. It is important that you have a clear understanding and awareness of what is important to you.

Kreyolicious: What’s the most life-changing book you’ve read in your life?
The Alchemist by Paulo Coelho.

Above: A Florine Demosthene piece entitled The Move in Love.

Kreyolicious: Is it hard creating? I think that some people think that writers, singers, and other artistic types create effortlessly.
For me, it is not difficult creating because making art is my form of meditation.

Kreyolicious: What should we expect from you in the next year or two?
I want to focus some of my attention to creating small scale sculptures and performance. I don’t want to say too much about it, but it will be a logical progression in what I am doing.

CLICK HERE TO VISIT THE ARTIST’S WEBSITE!

The word “versatile” is used to describe a lot of things and people, but it won’t be a waste to use it on visual artist and illustrator Marlie Decopain. She’s designed storyboards for Nike, Time Warner Cable, Coach, Dove, Prudential, and even a Ricky Martin music video. Her professors at the prestigious School of Visual Arts (from which she graduated) taught her well you might say. But as she explains during our interview, she was born into it, thank you very much.

Born in Port-au-Prince, Haiti, she immigrated to the United States when she was sixteen years old. She recently joined forces with the entrepreneurs behind the Haitian chocolate brand Askanya, and yielded a stunning design for their candy bar.

Kreyolicious: How did you become an artist?
I can’t say that I came to be an artist. Being an artist as always been a part of my identity. I’ve always loved to draw, and I drew all the time as a very young child living in Haiti as many young children do. But while some kids stop when they find new interests, I kept going. In my early teenage years a woman moved next door and told my parents that she was running an art school out of her home. Naturally my parents enrolled me. There, I continued improving on my drawing skills and also began painting seriously and exploring pottery. I was introduced for the first time to European art history and various drawing and painting styles. This is where I really got my foundation, in my neighbor’s home in Haiti. I moved to the US at 16 where my creative pursuits continued. I signed up for art class at the High School I attended and within the first few classes I realized that I needed more from the class in order to advance my craft. I spoke to the teacher and got moved to a higher level class. At that point I really knew that when it came to art there was no turning back for me.

Kreyolicious: People find it hard to grasp that visual creatives can experience blocks. But some do. Is that the case with you?
Yes, of course. I think any creative person can experience blocks. It’s part of the journey.

The wrapper design for Askanya, a Haitian chocolate brand.

Kreyolicious: How do you resolve those moments?
If it happens while I’m in the process of working on something I usually step away or put the piece aside and come back to it later or in a couple of days depending on my schedule. This allows me to look at the piece with fresh eyes and brand new ideas. If it happens before I even start, I typically turn to things that inspire me.

Kreyolicious: You attended and graduated from the School of Visual Arts. What were some of the most important things you learned while there?
Not only did I learn a new art form, but I learned how to be a professional. SVA sets high standards and demands a high level of skills and work ethic. I learned that being a creative isn’t the same as being a creative professional. Being a creative requires skills while being a creative professional requires that and much more.

SVA also taught me the importance of collaboration. While you might see your peers as competitors they can be great assets in building your career and your brand. Bringing your voices and skills together and cultivating one another’s strengths becomes an enriching experience for everyone.

Above: A storyboard Marlie Decopain designed for one of Nike’s campaigns.

CLICK HERE TO VISIT MARLIE DECOPAIN’S WEBSITE!

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!

The Greater Washington Urban League along with the DC Commission on the Arts and Humanities were one of the first outlets to feature the work of emerging artist Patsye Delatour. She was part of their prestigious Art Tempo exhibit.

The Corcoran College of Art and Design graduate was born and bred around art. Her style is best described as abstract. There’s a painting she calls “The Prince” that depicts a royal with a mohawk and tribal marks and a “primitive” necklace. Delatour’s style brings to mind hieroglyphics and ancient sketches, the sort that you might run across in a textbook about the study of ancient civilizations. There’s an almost Abyssinian-Greek-Medo/Persian aura to her art.

Born in Port-au-Prince, Delatour has since returned to her native city.

Kreyolicious: Do tell us: just who is Patsye Delatour?

It is such a deep question, and I have always been a thinker as I am an only child—not to be confused or misinterpreted with lonely. If I am to answer this question in the context of being an artist, I am one who channels different frequencies that then are placed onto different mediums to bring out positive messages to the viewer. These messages can be about spirituality, history, different life forms, guides, spirits, as well as introspection, mother nature, Earth, preserving nature and being one with everything and nothing.

I am a person who is always searching within as to better connect with others and life itself.

I believe in the light and have made a conscious decision to be used by the light to help manifest the creative pieces that I am asked to do. I take it as big responsibility for those whom are meant to connect, respond to the pieces that are created through me will resonate with them and acquire from them what they are meant to take in. When I see someone have an amazing connection with what is created through me, it reminds me of why it is I do what I do. It is a very gratifying feeling, for it is something that is greater then myself, and it just brings me full circle. It’s worth all the challenges, and troubles, when you can give to others.
 
Kreyolicious: Wooh. That’s some introduction. Thank you…You went to a fine arts school. What was the biggest thing you learned in terms of techniques?

One of the most valuable techniques that I learned at the Corcoran College of Art and Design in Washington DC, came from one of my favorite instructors Annette Polan. I recall her saying: “Today I will teach you to see.” What she meant by that, was she was going to teach us how to truly understand what we are perceiving when we view an inanimate object or a live model-person. To truly create what you see, you have to be honest about what you do not see. Meaning, when you are drawing an eye for example there are certain creases that you see, because of the play between light and shadow. It is that play between those two things that permits you to perceive that line, or crease above the eye. To say that you see every detail of the eye when standing feet away from a model that is a lie, or a misconception, so simply draw or paint what you see, which is exactly that, the play between light and shadow.

In many ways, having been taught to see is truly a great metaphor for life. We can be fooled by perception, but we must simply acknowledge truth not found through assumption but through the taking away of layers and preconceived notions.  

Kreyolicious: What usually sparks the creation of a painting?

To better respond to this question it is important that I express that when I create, I am simply channeling an energy that permits me to express whatever it is that it needs to be shared on paper or on canvas.

Inspiration comes to me through a gut feeling, almost a nagging feeling that stems inside of me. I sometimes feel an energy or a spark from within, like a calling that I must respond to. It is a very strong feeling, and I know that in that very moment of stillness, I will be asked to travel outwardly. It will then be expressed through the line drawings that I have named Vibration Lines or through my paintings that have been created through me.

During this creation phase, I like to meditate, listen to music, burn incense to help transport me to a dimension and level of consciousness that goes beyond the material permitting me to be a clear vessel to be used by this positive energy.
Once I have acknowledged it is time to create, it moves very quickly and what I am meant to draw or paint is created at a very rapid pace.

Kreyolicious: To someone who is not a painter, it would seem that painting is easy. One only has to pick up a brush, look out a window and…boom. Is it as easy as it looks?

That is a tricky question for some it is that easy, but at the same time though one defines easy by their own experiences. I can only respond to this question based on my own experience. Before going to the Corcoran, what was easy for me was writing, writing poetry, short stories as I always had a very vivid imagination. I have always been able to easily express my thoughts, my imagination, my vision both verbally and in writing.

Communicating what I was observing in art school through drawing or painting at the very beginning was not easy. As I mentioned before, I thankfully was taught to see, through the honest breaking down of observation. Learning as well about how to apply paint, mix colors, how to understand the human form, break down the human form, respecting lines, playing with light and shadow, understanding the elements of design—amongst other techniques. These lessons permitted me to be able to truly draw, as it was not my natural tendency or nature.

One also has to remember that generally the simplest things are the hardest things. When one has perfected a particular technique, I would suppose the biggest compliment would be they make it look so easy.

“Green” by Pastsye Delatour.
 
Kreyolicious: You are based in Haiti. How are women painters viewed there?
Patsye Delatour: In my opinion, I would say women artists are well perceived. If one is talented, one is respected—male or female—matters not. I grew up seeing the artist Luce Turnier for example. Her work was always respected and I recall how popular and in demand she was in regards to her portraits let alone her depiction of coconut trees. I know personally several Haitian female artists both well-known and up-and-coming, and as I mentioned before, it’s their remarkable talents that speaks volumes.

At the same token, its always great to see women artists or art lovers pushing other women to excel and to succeed. You have Marie-Alice Theard’s book Presence Feminine Dans L’Art Haitien [Feminine Presence in Haitian Art] who has compiled different Haitian women painters, providing an opportunity for one to learn about these artists and see a bit of their work. You have great young talented minds, Beatrice Celestin also innovating and creating creative atmospheres not just for women, but for the arts. You have Valeire Noisette and her husband promoting up and coming artists through Kolektif509. So in some ways women are steering their visibility, they’re promoting themselves as well as supporting other women, Haitian art and creativity.

Kreyolicious: I’ve interviewed a few people for this site who are painters. A great many of them have mentioned that their parents backed them in their choice. Was that the case with your peeps?
Patsye Delatour: Thankfully so, my parents encouraged me to go to art school when they noticed this passion was dwelling inside of me. My parents instilled in me at a very young age, that following ones passion was one of life’s biggest gifts. There is a particular freedom in following ones passion because there is an underlining joy that is always very present, no matter the challenge.

Having grown up in a creative country, and my playground being my grandmother’s art gallery Rainbow Art Display, and my godmothers—part owner—of an artisan store Fanal. It’s of no surprise that this creative passion was always brewing inside of me. Also, I must mention that both my parents are very creative, and talented in their own rights. The apple did not fall far from the tree.

Kreyolicious: Do you think that when you’re a parent, you’ll have the same reasoning as them if your daughter or son makes the same artistic choice as you?
Patsye Delatour: Absolutely, yes. The reason I will say yes to my children or any child who were to approach me is because I know that by following their passion they will never tire of doing what they must to succeed. Because it’s a fire that can not be turned off, for it is eternal. What I would say to them is that it is a very challenging field, that there are strong ups and down. I would share with them that creativity is a reflection of life, for it is inspired from itself and from energies beyond our own comprehension. It forces one to delve within. You cannot hide from yourself. It is a very vulnerable place, for you are naked—as you are always expressing. However, it is truly worthwhile, for you get to taste life, live life through clear lenses always ready to learn and acquire more knowledge in a state of joy.

Kreyolicious: Have you been to an art event or exhibition that particularly stood out?

At a very early age, my mother would take me to different museums throughout Washington, DC where I would be surrounded by the masters. The same token she would take me to art shows in Haiti where I would be surrounded by Haitian art masters. I had the pleasure of knowing—til this day—many great Haitian artists—so it’s hard to pinpoint an exhibit.

I can say however that the Smithsonian Folklife Festival, where Haiti was featured and that my father Patrick Delatour was one of the curators of truly touched my heart. Haiti, it’s culture, art, music, cuisine was given an opportunity to shine and to take center stage. Surrounded by the museums and in between the Capital building and the Washington Monument. Those three days are one of my fondest memories, and in some ways has played an amazing role in my life’s trajectory.  

Kreyolicious: Are you a dreamer? It seems to come hand in hand with creativity.
Patsye Delatour: I am very much so a dreamer, but at the same time I am also a person who is very grounded and realistic. This can be challenging for they are both very strong components of my personality, and at the same time I am grateful for having both attributes.

Kreyolicious: Out of all your creations, which is the most special to you?
Patsye Delatour: I have a fond connection with most of my pieces. I remember creating a piece called “Mystical Man”. This piece took me three days to create. The reason is because it was a very emotional one for me as its energy and presence was very strong. I remember crying every time I would like at it, when I would step away from the piece to observe it at a distance. It was a very moving and powerful experience, many people who observe that piece have a strong connection to it as well.

 
Kreyolicious: A girl who has just graduated from high school comes up to you. She hopes to become a painter…someday. She’s seen some of your paintings and asks to pick your brain about her future, the craft of painting, and the business of art. What do you say?

First off, what an honor. Second, I would be as honest as I can based on my own experience’s. I would make sure to let her know that what I would share would be just that, my personal experience and that she would have to create her own. With that said, I would tell her that if she is truly inspired to create that she has a responsibility to herself and to those who she will one day share her work with to do so. I would also tell her, to take business management courses, as I wish I had done so and that they were offered to me at the Corcoran. Truly it is important that an artist knows how to represent herself, her work and knows how to market her work.

I would also tell her, that she needs to not be afraid to understand her rights as an artist, and to stick to her work ethics and principles. Many times people label artists through their misconceptions as irresponsible, unprofessional, and sometimes use words like “crazy”.

I would also express to her as Philippe Dodard expressed to me years ago: “You are to carry yourself as a cultural ambassador of your country, Haiti”. I have always prided myself in having that natural tendency to be professional and to carry myself as such. Being an artist is a very big responsibility for we preserve history, experiences, and some of us even help to communicate prophecies.

Did you enjoy this interview with painter and visual artist Patsye Delatour ? CLICK HERE to read other articles in the STRAIGHT OUTTA HAITI series.

Hey there, readers. Read Part II of my interview with visual artist Fritz St Jean. In the last installment, he talked about his beginnings in the field and his influences. Today, the discussion is more of a retrospective on his years as an artist thus far.

Kreyolicious: Sometimes when certain creatives look back at their work, sometimes…there’s always that one…that brings back memories. What painting in your collection fits this bill?
I am enchanted with memories when I look at “Goudou Goudou” since it took me more than ten years to complete. Initially, I started painting it towards the end of 1999 when everyone was anxious about Y2K. Throughout the years, I struggled to make sense of what I was creating and the direction I was going with it. For ten years, I edited and changed this painting as my life played out. For example, I changed it while I had challenging health conditions and continued to work on it when I lost my brother. Furthermore, I edited “Goudou Goudou” as my daughters grew and eventually had children of their own. I would even travel with it so I can work on it while I was out of the country because I was still searching. Finally, the 2010 earthquake in Haiti brought the meaning of the painting into fruition. It was that moment that I realized the significance and purpose of my ever-changing piece.

Kreyolicious: What would you tell a newly-graduated high school graduate who wants to be a visual artist in the same vein as you?
Art is a complicated entanglement. There are many detours in this profession. It will bring you so much happiness and fulfillment. But it will also bring you heartbreak and pain. Still, I believe that art is the best way to express yourself. As an artist, you are constantly naked because your creations expose your vulnerability to the world. Through your art, people can feel your emotions, know your inner thoughts, and sometimes learn your weaknesses so be careful and work on your craft every day. I am still learning even though I have been painting for a few decades now. It is a privilege to be an artist so do not waste it!

Kreyolicious: Do you have any career regrets?
I believe that everything happens the way it is supposed to happen, so I do not waste time on regrets. I rather paint it away.

Kreyolicious: Have you been to Haiti?
Actually, I am in Haiti every day. Even when I am in New York, my soul is in Haiti. No matter where I am, I visualize the curves of Haiti’s mountains, feel the warmth of the sun, and hear the sounds of my roosters. Haiti is my muse so I cannot stay way away for too long, so I go back every chance I get. It is the place where I feel most inspired.

Kreyolicious: What is next on your plate?
I was just awarded funding to work on a series that I am excited about. I plan on having exhibits on the series throughout the year. Please subscribe to my website for updates!

Fritz St. Jean’s art is available here.

Visual artist Kervin Andre has been drawing his whole life, but it wasn’t until about four years ago that he officially launched his career as a painter. Judging from the works that he’s been able to create, it’s obvious that the father of two and New Jersey resident has been a painter from birth. From his Akomics Art studio in The Garden State, he paints everything from still life portraits, to musical figures and historical scenes.

Kreyolicious: How do you deal with creative blocks?
I have yet to experience creative blocks. There are moments where it is hard to concentrate on just one canvas, so I am working on multiple ones because the ideas in my head are going much faster then my fingers can create them—but never a time where I cannot think of what to create. There are times where I cannot reproduce what I am seeing in my head to my standard…but no problems with inspiration at all.

Kreyolicious: Have you been to Haiti?
I was born and raised in Haiti. Since immigrating to the United States, I have gone back a few times, and hopefully more in the future. Lakay se lakay. [Home sweet home]

Kreyolicious: Do you think kids’ creativity can be hindered by technology as some experts claim?
There are many ways to be creative as long the child’s mind and imagination is constantly being challenged and stimulated. Rather than a hindrance, technology can actually enhance one’s imagination. So, no, with the right support, I do not see technology as an obstacle to a child’s creativity.

Kreyolicious: When you think back to your childhood, do you think teachers and peers contributed to the artist you are today?
My teachers, not at all. My uncle was the first person I noticed that was able to draw. I used to watch him draw in Haiti. I guess even though it was not anything like I am doing, I must have picked it up from him. He used to buy me Marvel comic books, and I used to try and recreate the characters. He was the person who exposed me to drawing.

Kreyolicious: How do you usually prepare for an art show?
It really depends on the theme or audience, but for the most part, I just bring my best work at the moment because I want to make sure I stand out and am remembered by the person viewing my art.

Kreyolicious: Out of all the pieces you’ve created, which one has been the most difficult?
I don’t know if difficulty is the word I would use per se, but perhaps challenging—as far as time-consuming and detail oriented. There are quite a few pieces, but two that definitely stand out to me right now are “Fall Of An Empire” and “The Battle Of Savannah.”

Kreyolicious: What’s your ideal work space?
I can honestly work anywhere. But I need no outside interruption. I just need my thoughts, canvas and paint, and my music.

Kreyolicious: What inspires your work?
Everything inspires me, from good to bad, happy to sad, negative to positive—the world inspires me. For me, art is a reflection of life. It is life, so everywhere I turn, I can find inspiration.

Kreyolicious: Five years from now, where do you see yourself?
Alive, and still enjoying my kids.

CLICK HERE to view Kervin Andre and his work, and to purchase! | CLICK HERE to see the works of the artist, and to keep up with his journey.

Sandrah Chalmers is a visual artist and painter, whose paintings are very versatile. On one hand, there are the paintings that depict rites of passage of women. Then there are some abstracts, and even a surreal work here or there.

Born in Port-au-Prince, Chalmers moved to Florida with her parents and brother in the early 1990s. After graduating from Miami’s Florida International University with a degree in International Relations, she moved to Atlanta where she currently makes her home.

Chalmers has taken part in several successful exhibits, and she is frequently commissioned by lovers of art. But to her, being successful comes with the obligation to give back, and it’s an obligation she takes on with pleasure. Chalmers has donated proceeds from sales of her paintings to Village Of Vision For Haiti Foundation, an organization that builds shelters in Haiti. In the past, she’s worked with other organizations like Habitat For Humanity to help women and children in Haiti. She’s also donated several of her paintings for charity galas and auctions.

Did you start out drawing?
I began to draw at the age of four. As a child, my fascination for colors and shapes rapidly developed. My curiosity grew as I discovered the work of some great art masters such as Leonardo Da Vinci, Salvador Dali, Claude Monet and the well recognized Haitian painter Jean-René Jerôme. My style transformed over the years, from Abstract to Photo-Realism. I consider myself today as a Modern Pop artist.

When your parents realized that you wanted to take up painting for good, what was their reaction?
My parents have been one of the greatest influences in my life. They taught me about strong work ethics; they taught me about responsibility. They also taught me about the very thin line that exists between a dream and reality. I have to start by saying that once I graduated high school, I told them that I wanted to pursue a degree in Fine Arts. They said that they would support me in whatever path I chose. My father even said in those exact words: “Why do you want to learn how to draw or how to paint? You’re already doing it beautifully.” Their views on art and artists in general were not the same as mine. They were looking at the financial aspect of this field. will she be a starving Artist? Artists do not bring home a steady paycheck. Today I can say that I understand where they were coming from. Some artists make it big and others never do; it’s just the nature of this game.

Out of all the pieces you’ve created, is there one that you absolutely treasure more than your other creations?
“Exotica” a 36×48 acrylic on canvas [from] 2005. This piece is very dear to my heart. It was created at a time where many changes were about to take place in my life. I had to grow as a human being. I had to grow as a woman. For a long time, I felt that I was like a child living in a bubble. That bubble one day bursts and I was faced with life’s major surprises and challenges. This painting is composed of growing leaves and through those leaves one can notice various red shapes—these are veins with blood running through them. Some are small and some are larger. They all occupy a specific function. They all exist for a reason. They all keep those leaves alive. They all contribute to those leaves’ growth. In sum, this painting is a celebration of my growth as a woman—the celebration of my life.

What sparks your creativity?
My creativity depicts from my love for life, my love for music, my love for art. My subjects derive from daily encounters, and some, are just fruits of my limitless imagination.

Do you think that it’s essential for a painter to attend a fine arts school, either at the high school or college level?
One may be born with a gift, one may be born with a talent, it certainly does not hurt to go ahead and master that gift and that talent. The only way to do it is to attend school. I am a strong advocate for schooling and education. I believe that an artist will largely benefit from acquiring knowledge about art History and Techniques. The exposure to the art world will certainly contribute to the artist’s success and acknowledgment from his or her peers.

You are a seasoned painter, no doubt. What counsel do you have for those who want to make a career in the world of painting?
Passion and determination. The Art world is a very competitive world. You have lots of talents out there. You have to work into creating something unique that will catch one’s attention. You have to develop a style that will eventually become your signature. And it’s not enough to be talented, you have to be smart. You have to acquire some marketing and business knowledge. Yes, it’s great to financially succeed in art, but at the same time, it’s not a guarantee. The economy that we live in make it even harder these days. Individuals will work harder to keep up with their rent or mortgage. Having a painting hanging on their walls has become secondary on their priority list. Paint because you love it, not because you want to become rich. Otherwise, you may be very disappointed. Other great tips: join artists groups, network, sign up and join group exhibits, build your website, create business cards. Social media these days is a great tool. Put your work out there, put your name out there. And remember, if you are looking for an efficient art agent…keep in mind that you are the best art agent you can have.

There is this painting in your collection called “The Day I Swam With the Water Lilies”. Is there a story behind it?
In 2009, the High Museum of Atlanta announced a four-year collaboration with the Museum of Modern Art in New York City, that will bring several of Claude Monet’s Water Lily paintings to Atlanta that Summer. I suddenly had a flashback of my first art history class – where each student was asked to write an essay about one of their favorite Art Masters. Of course, I chose Claude Monet. As a founder of the impressionist movement, Claude Monet’s paintings made an impact in the art world to both Landscape and non-Landscape Artists like myself. For the first time I have to say that I felt this sudden urge to create my first landscape piece. There is such a big mystery that lies beneath those lily ponds, located in the back garden of Claude Monet’s home. I felt like I needed to unveil this mystery. After attending the Claude Monet Water Lily exhibit at the High Museum of Atlanta in the Summer of 2009 – after witnessing physically not only the magnitude of these paintings—they were extremely large panels mounted together—I was inspired to create “The Day I Swam With The Water Lilies”. Claude Monet focused on demonstrating those elements on the surface, I decided to demonstrate those same elements below the surface. The woman in the painting illustrates life below Claude Monet’s water lily ponds.

Does it take a lot for you to get inspired?
My inspiration comes and goes. I’ve gone months without holding a brush. I have to be mentally free to be inspired. A lot of times just listening to a song gives me a mental picture of a scene that I then want to materialize on a canvas. Sometimes by discovering a new place either outdoor/in nature or on a busy city street, I get inspired. Some are weak and some are strong. And if I look at all the pieces that I’ve created so far, I can pinpoint those created where my inspiration was at its peak and the other way around.

And once you do find that inspiration, do you have to have a particular atmosphere around you for it to keep on flowing?
No. Once that inspiration comes around, it comes and flows beautifully. Like I said earlier, each inspiration has its own degree of intensity. I automatically become a “girl interrupted”. I am constantly hunted until every element of it is transferred either on a sketch paper or directly on a canvas. My sketches are the foundation of my paintings. The color application and blending are the residual details being processed in my brain. I have an Art Studio at home. It is truly my comfort zone. That’s where I’m at peace. I am still not an Artist who can participate in groups paintings. I’ve tried many times and never succeeded. I have to be in my comfort zone. I have to be in my element.

What do you like most about being a painter?
The freedom that I gain to do practically what I want. The freedom to create what I want. The ability to tell a story. Writers, movie producers, designers—I feel that we all cherish this opportunity to be free.

You’re based in Atlanta. Do you feel that that’s been advantageous?
I lived in Miami for fifteen years. We all know that Miami has become, after New York, one of the greatest venues for art culture. When I lived in Miami, I felt like a small fish in a very large pond. In Atlanta, it’s different. It is a city in transition I will say, culturally. The art has greatly evolved in this city I have to say, from when I first moved in 2006. Atlanta is doing a great job in welcoming and providing opportunities to both local and out of state and international Artists. I professionally took my art to the next level when I moved to Atlanta. I have to say that I succeeded not only thanks to my go-getter attitude, but also by taking advantage of what the city itself had to offer me.

What is your biggest source of pride?
My biggest source of pride is when a client asks me to commission a painting for their home or office. It really is a great honor when your hard work and talent are appreciated. I’m also honored when a great non-profit organization contacts me to donate a painting for charity. The auction is generally for a great cause. I believe in giving back to the community in what ever way I can. Winston Churchill once said: “We make a living by what we get, but we make a life by what we give.” I go by these words everyday.

What happens when you’re out on the town, and out of nowhere an idea presents itself. Or you get hit suddenly with inspiration from something you lay your eyes on. But you are without your brush!
That’s a very good question. [Laughter] Over time, I’ve acquired the ability to improve my photographic memory skills. My brain has become a hard drive. It stores many things…sometimes too many things. So far I have been able to retrieve them efficiently. I hope those skills last a long time. Of course, over time, with the natural aging process, those skills may gradually diminish, but i think with the technology of taking a photo with an iPhone, I should be okay…eh eh eh…

What do you want your eventual legacy to be?
I want to be remembered as a Haitian woman, as a Haitian painter. As the little girl, once captivated by colors and movements. The one who dared to call herself a self-taught artist.

As a painter, what sort of materials can you not do without?
I’ve painted with oil in the past but now acrylic paint is the medium that I mostly use. It is known for its fast drying ability. Which can be a problem sometimes, since it restricts you as far as the time factor, to complete the blending process on canvas. Few years ago, a fellow acrylic paint Artist, enlightened me about The Retarder. It is an additive that increases the working time of acrylic paints. It increases workability for “wet in wet”techniques. It is a miracle in a bottle, if you ask me. I always make sure I have enough of that stored in my cabinet so I never run out. In addition, an artist must invest in great sets of brushes too. The Retarder and a great brush are materials I cannot do without.

What’s next for you?
I want to keep on painting. I want to keep on creating. I want to become a better painter everyday. Better than the one I was yesterday. My dream is to have my work exhibited in galleries, museums, clients homes, all over the world. One must always reach for the moon even if they end up reaching the lowest branch of the tree. I am currently providing private art lessons to an eight year old little girl. She reminds me so much of myself in so many ways. I am happy to be there to teach her the many art skills I’ve acquired over time. I am like a big sister, a friend, a mentor. She is very talented and has a great passion for painting. I’ve been her teacher for almost two years now. The way she looks up to me as an artist makes every single second of art lessons all worth it.

You can visit Sandrah Chalmers website and see more of her work HERE.

Come and take a look inside the bold-colored world of visual artist Fritz St Jean. The New York-based painter was born in Haiti, and fully developed his art in his homeland. His art is available for purchase on his website!

Kreyolicious: How did you get your start as a visual artist?
I am a painter and historian, through my canvas, I narrate the Haitian story and archive Haiti’s history as it is happening. My paintings explore the complexities of our culture, the intimate details of our pain, triumphs, and our resilience. In doing so, I use the colors of nature as a backdrop for my stories.

As a child, I used to paint in watercolors in school, and my father encouraged me by calling me the artist of the family. Although I am a self-taught artist, there were two significant milestones in my childhood that impacted my development as an artist, which was my relationship with Le Centre d’Art and meeting a local artist named Fritz Jacques.

The first time I visited Le Centre d’Art [Haitian Art Center in Port-au-Prince] and watched the students work, I instinctively knew that I had a gift. I could create what the students were doing without instruction, so I went to the director of the school at the time, Ms. Francine Murat, and told her exactly that. She took me seriously and gave me some paint, brushes, and a canvas to work on a piece. Subsequently, Ms. Murat was impressed with my finished piece, and that started a vital mentorship for my artistry. She continued to support my growth by to giving me art supplies and selling my paintings at the school on consignment. Although I was not an official student at Le Centre d’Art, I spent a considerable amount of time early in my artistry there, and Ms. Murat’s encouragement helped cultivate my craft.

Next, I met Fritz Jacques, who was a local artist specialized in jungle scenes. I was inspired by his style and started to work with him. From there, I mastered the art of painting in that style. However, in the 1980s, I stopped painting jungle scenes because I wanted my work to reflect the revolution that I felt inside of me. Certain events such as the slaughter of the Creole pigs triggered me to paint about what was happening. So, I created my own style to depict the social, cultural, and political problems that Haiti was facing.

Kreyolicious: Have you ever worked on two paintings simultaneously?
In my practice, there is no order when it comes to art. I work based on what I am inspired to do and at times, I may be working on two or three pieces. What determines which painting I will complete first is not dependent on the order but the inspiration that I feel.

Kreyolicious: Are there some artists that you look up to? What is it about them?
There are many, but my top favorite artists are Andre Pierre and Wilson Bigaud. I look up to Andre Pierre because he is a mystical painter and that his paintings vividly reflects Haiti’s culture and voodoo. As for Wilson Bigaud, I love his imagination, and I am most impressed by his expert use of pastel colors and how the color gray stands out in his pieces. There are many artists from my generation that I admire as well such as Saint Louis Blaise and Fabolon Blaise.

This concludes PART I of the interview with the visual artist Fritz St Jean. Watch out for Part II.

CLICK HERE to visit artist Frtiz St Jean’s website. CLICK HERE to purchase see more of his art.