MOREL DOUCET

Skin Congregate on Every Mountain embodies the central themes of Nou Ayiti by examining the intersections of identity, mobility, and survival within the Afro-Caribbean experience, while also addressing broader global issues of displacement and privilege. Through intricate floral symbolism, the work reflects on the sociopolitical dynamics of colorism and class, anchoring these themes within Haiti’s history and its people’s ongoing struggle for self-determination and equity.

The brown ceramic bust, representing both resilience and fragility, evokes the lived realities of Black and brown communities. It draws a direct line to the displacement caused by climate gentrification and urban development—communities uprooted by forces beyond their control, much like the dandelion carried by the wind. This metaphor mirrors the historical and ongoing challenges of survival, migration, and mobility faced by Haitians and the wider African diaspora.

Colbert blue flowers, traditionally associated with class and privilege, critique the exclusivity of wealth and access historically denied to Haiti and its people. Once a color reserved for royalty and elite circles, blue here becomes a stark contrast—underscoring the inequities built into global systems of economic extraction, where the labor and suffering of the many uphold the luxury of the few.

Cherry blossoms, symbols of transience and shared beauty, suggest both the fragility of progress and the enduring potential for renewal. In the Haitian context, they speak to the fleeting nature of societal gains amid ongoing structural oppression, while also offering a sense of interconnectedness and hope across communities of color.

Through its layered materials and narrative, Skin Congregate on Every Mountain aligns with the ethos of Nou Ayiti—reimagining Haiti’s future through a lens of environmental justice, cultural resilience, and collective memory. It invites reflection on the systemic forces shaping our world, while honoring the strength and beauty of those who continue to resist, rebuild, and dream

The Brown Menagerie aligns deeply with the themes of Nou Ayiti, interrogating the complex intersections of identity, race, and beauty through an Afro-Caribbean lens, while reflecting on Haiti’s historical and cultural context. The color brown, central to the work, represents the richness of soil—a symbol of life, nourishment, and the land that sustains Haiti. At the same time, brown becomes a metaphor for marginalized identities, often overlooked or dismissed. This is reflected in studies like the crayon box experiment, where children consistently avoided the brown crayon, revealing internalized biases around race and beauty.

This piece challenges such perceptions by reclaiming brown as a symbol of resilience, power, and cultural pride. The Afro-Caribbean framework of The Brown Menagerie mirrors Haiti’s ongoing assertion of its identity and humanity in a world that has historically sought to diminish both. The reference to soil further evokes Haiti’s legacy as the first free Black republic—its revolutionary past and its enduring relationship to the land, which has been both a site of struggle and a source of sustenance.

By weaving together themes of race, sexism, and fashion, the work critiques societal norms that uphold colorism and Eurocentric beauty standards—forces that have deeply impacted Haiti and its diaspora. The deliberate focus on brown skin, brown eyes, and brown hair serves as an assertion of inherent beauty and dignity within the Afro-Caribbean community. It urges viewers to reconsider dominant narratives and to reimagine what brown symbolizes.

Through this exploration, The Brown Menagerie contributes powerfully to the vision of Nou Ayiti—celebrating the strength, complexity, and vibrancy of Haiti and its people. It invites reflection on the cultural and historical weight carried by this often-dismissed color and emphasizes the urgent need for representation and reclamation within Haiti’s imagined future—one rooted in equity, beauty, and belonging.

The Hills We Die On (Flowers for President Jovenel Moïse) powerfully aligns with the themes of Nou Ayiti by engaging with Haiti’s political and historical complexities while honoring its enduring spirit of resilience and transformation. Through layered symbolism, the piece commemorates the life and legacy of President Jovenel Moïse—a leader whose humble beginnings reflected the lived experiences of the Haitian people. His connection to the land and his vision for national progress serve as a central thread, reminding viewers of Haiti’s deep agrarian roots and its ongoing struggle for autonomy and prosperity.

The upside-down emoji face, rendered with irony and passive aggression, speaks to the contradictions of Haitian politics—where hope and disillusionment often coexist. This element underscores the tensions faced by both leaders and citizens as they navigate entrenched systems of power, while also invoking the globalized, digital language through which Haiti’s story continues to unfold on the world stage.

Butterflies gracing the figure’s face symbolize transformation and possibility, offering a vision of Haiti rising above hardship to reclaim its narrative with grace and power. The stark white porcelain head gestures to the artist’s familial ties to Haiti’s agricultural traditions, with a quiet nod to the daily ritual of coffee—a symbol of labor, endurance, and introspection.

Blending personal history with collective memory, The Hills We Die On honors President Moïse’s vision while offering a poignant meditation on Haiti’s past, present, and future. The work captures the spirit of Nou Ayiti by bridging grief with hope, critique with reverence, and commemoration with imagination—reaffirming art’s power to envision a more just and self-determined Haiti.