Edouard Duval Carrié

The Three Dimensional Gods and Goddesses Meet Their Cousins The Trees

Reception: Saturday, April 14th, 2012 2-9pm
April 14th – May 31st 2012

Purple Lace Tree, Mixed media on aluminum, 96" x 96"

Edouard Duval Carrié continues his explorations of trees as self-portraits.
Carrié’s work has multiple influences that are somewhat unexpected. His art transports us to his unique universe albeit a mysterious one where anthropomorphic flamboyant characters, that are half men and half gods, half women and half goddesses, are set in a luxuriant yet cannibalistic landscape, which is often disquieting. This imaginary yet surrealistic iconography is undeniably impregnated by religious Haitian imagery. He revisits the vodou cosmogony, magnifying and modernizing it by incorporating his own fantastic, pop baroque, “trippy” world. Like an alchemist, he deflects rather sophisticated techniques borrowed from traditional savoir-faire such as plique-à-jour and others, to suit his aims.

Edouard Duval Carrié lives and works in Miami but stays anchored in his Haitian and Caribbean as well as African roots.

Reynier Leyva Novo
Novo Aniversario

Reception: Saturday, April 14th, 2012, 2-9 pm
April 14th – May 31st, 2012

Silencio! / Silence!, 2011, Vinyl on Canson Paper, 25" x 19 1/2"

Political propaganda as a means to manipulate the masses is not a new concept. In order to BE, it is necessary to BELONG, and this “belonging” is made up of colors, symbols and rhythms that add up to the tyranny of a national identity.

The methods of manipulation have evolved over time. Gone are the lengthy, fiery diatribes shouted out from the pulpit. The voice that dictates behavior has descended from the heights, shed its old habit, shaved its beard and colored its monochromatic nature with new shades and tones.

Power has learned the subtle art of mingling in the crowd, appearing as a forward-thinking worker, as a most innocent train conductor, speaking softly and wearing a mask of protest. We are left to roam aimlessly, incapable of spontaneous movements.

In a deliciously ironic gesture, Novo Aniversario turns the tables on this updated form of manipulation by selecting the same medium used by Power to direct and dominate, to EDUCATE and CHANNEL the anger of those betrayed by unkept promises, those who have learned that tomorrow can be now or never, that it is unjust to force an individual to choose between homeland and death.

Through messages and symbols, Novo Aniversario challenges ideology at a global level and issues a sort of politically merciless universal proclamation. These 27 political posters denounce one of the most egregious crimes of our time: Power’s intent, occasionally successful, to persuade individuals that they are incapable of being agents of change.