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Seven women stand in a solemn gathering within a deep blue interior that feels at once architectural and sacred. At the center, a Black woman with medium-brown skin faces outward in a long white gown whose broad sleeves open like wings. She wears a tall white headwrap, gold earrings, and layered necklaces, while her expression is calm, direct, and authoritative. Around her are six other women, also dressed in flowing white dresses and white headwraps, are arranged in a balanced semicircle. Two women in the foreground hold green palm fronds. One holds a beaded ritual rattle. Their bodies are upright and still, their faces attentive, as if listening or preparing for a shared invocation. Small candles burn near their feet, and pale vevè ritual markings are drawn across the dark floor. The glowing whites of the garments and headwraps stand out against the indigo background, giving the whole scene a hushed, luminous gravity.

Haitian artist Pierre Augustin’s painting presents Haitian Vodou not as exotic or mysterious in a sensationalized sense. Instead, he gives the ceremony discipline, dignity, and female spiritual authority. The central figure reads as a mambo, or priestess, leading a group of women through a sacred rite. The white garments suggest ritual purity, initiation, and collective devotion, while the chalked symbols and candles mark the space as one of invitation, protection, and presence. The ceremony is linked to the calling of Ezili, a lwa spirit associated with femininity, beauty, love, power, and emotional depth. That association deepens the painting’s meaning: this is not simply a gathering of women, but a vision of women as guardians of spiritual continuity.

Augustin, born in Haiti in 1945, became known for highly ordered, symbolic images rooted in Haitian life and belief. Here, in 1979, he offers not performance for an outside viewer, but a threshold of reverence. The women seem gathered in mutual witnessing, sacred labor, and calm command.

Seven women stand in a solemn gathering within a deep blue interior that feels at once architectural and sacred. At the center, a Black woman with medium-brown skin faces outward in a long white gown whose broad sleeves open like wings. She wears a tall white headwrap, gold earrings, and layered necklaces, while her expression is calm, direct, and authoritative. Around her are six other women, also dressed in flowing white dresses and white headwraps, are arranged in a balanced semicircle. Two women in the foreground hold green palm fronds. One holds a beaded ritual rattle. Their bodies are upright and still, their faces attentive, as if listening or preparing for a shared invocation. Small candles burn near their feet, and pale vevè ritual markings are drawn across the dark floor. The glowing whites of the garments and headwraps stand out against the indigo background, giving the whole scene a hushed, luminous gravity. Haitian artist Pierre Augustin’s painting presents Haitian Vodou not as exotic or mysterious in a sensationalized sense. Instead, he gives the ceremony discipline, dignity, and female spiritual authority. The central figure reads as a mambo, or priestess, leading a group of women through a sacred rite. The white garments suggest ritual purity, initiation, and collective devotion, while the chalked symbols and candles mark the space as one of invitation, protection, and presence. The ceremony is linked to the calling of Ezili, a lwa spirit associated with femininity, beauty, love, power, and emotional depth. That association deepens the painting’s meaning: this is not simply a gathering of women, but a vision of women as guardians of spiritual continuity. Augustin, born in Haiti in 1945, became known for highly ordered, symbolic images rooted in Haitian life and belief. Here, in 1979, he offers not performance for an outside viewer, but a threshold of reverence. The women seem gathered in mutual witnessing, sacred labor, and calm command.

"Vodou Ceremony" by Pierre Augustin (Haitian) - Oil on canvas / 1979 - Waterloo Center for the Arts (Waterloo, Iowa) #WomenInArt #PierreAugustin #Augustin #WaterlooCenterForTheArts #HaitianArt #VodouArt #art #arte #arttext #blueskyart #oilpainting #CeremonialPainting #WomenInRitual #HaitianArtist

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Made in 1982 when artist Luce Turnier was in her late fifties and long past the expectation that Haitian art should perform “the picturesque,” this untitled portrait reads as a quiet insistence on everyday dignity. Turnier, a pioneering Haitian modernist associated with Port-au-Prince’s Centre d’Art and shaped by periods of study and work in New York and Paris, often returned to working and middle-class sitters with a modern, pared-down language rather than sensationalized spiritual tropes. 

It’s a vertical portrait of a Black adult woman seated in a light wooden armchair, angled slightly left but looking forward with a calm, resolute expression. Her skin is rendered in deep brown tones with soft modeling across the cheekbones and nose. A large, pale, circular headpiece like a structured headwrap fans out behind her head in concentric arcs, creating a halo-like silhouette. Beneath it, a colorful scarf with small flashes of red and blue peeks at the hairline. She wears a sleeveless white dress with wide straps.Tthe fabric gathers at the waist and falls in quiet folds across her lap. Her forearms rest together, hands loosely clasped, suggesting patience rather than pose. The chair’s rounded arms and spindled supports repeat the painting’s curving lines. Behind her, a flat terracotta-orange background keeps our focus on face, garment, and the luminous headpiece.

The sitter’s anonymity is likely not erasure so much as solidarity so she stands for many women whose labor and endurance are foundational and rarely archived. The monumental headwrap/hat becomes both protection and radiance of a practical architecture turned emblem while the restrained forms keep attention on presence like the set of her mouth, the steady gaze, or her hands at rest. By withholding a title, Turnier leaves space for us to meet this woman without a script, and to recognize portraiture itself as an ethical act of looking carefully, without possession.

Made in 1982 when artist Luce Turnier was in her late fifties and long past the expectation that Haitian art should perform “the picturesque,” this untitled portrait reads as a quiet insistence on everyday dignity. Turnier, a pioneering Haitian modernist associated with Port-au-Prince’s Centre d’Art and shaped by periods of study and work in New York and Paris, often returned to working and middle-class sitters with a modern, pared-down language rather than sensationalized spiritual tropes. It’s a vertical portrait of a Black adult woman seated in a light wooden armchair, angled slightly left but looking forward with a calm, resolute expression. Her skin is rendered in deep brown tones with soft modeling across the cheekbones and nose. A large, pale, circular headpiece like a structured headwrap fans out behind her head in concentric arcs, creating a halo-like silhouette. Beneath it, a colorful scarf with small flashes of red and blue peeks at the hairline. She wears a sleeveless white dress with wide straps.Tthe fabric gathers at the waist and falls in quiet folds across her lap. Her forearms rest together, hands loosely clasped, suggesting patience rather than pose. The chair’s rounded arms and spindled supports repeat the painting’s curving lines. Behind her, a flat terracotta-orange background keeps our focus on face, garment, and the luminous headpiece. The sitter’s anonymity is likely not erasure so much as solidarity so she stands for many women whose labor and endurance are foundational and rarely archived. The monumental headwrap/hat becomes both protection and radiance of a practical architecture turned emblem while the restrained forms keep attention on presence like the set of her mouth, the steady gaze, or her hands at rest. By withholding a title, Turnier leaves space for us to meet this woman without a script, and to recognize portraiture itself as an ethical act of looking carefully, without possession.

“Sans titre (Untitled)” by Luce Turnier (Haitian) - 1982 - Gardy St. Fleur Collection (Brooklyn, New York) #WomenInArt #WomensArt #WomanArtist #WomenArtists #LuceTurnier #Turnier #GardyStFleurCollection #art #artText #BlueskyArt #arte #PortraitofaWoman #HaitianArtist #HaitianArt #WomenPaintingWomen

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Preview
TeaMarrr Returns with Bold New Single “Tea Party” TeaMarrr is back! Following the success of 2023’s KITTEA CAT, the Haitian-American singer-songwriter makes a powerful return with her new single “Tea Party” — a vibrant Afro-pop-infused anthem just in time for summer. Marking her first release since parting ways with Atlantic Records & Raedio, Tea Party is a symbol of creative freedom. Brewed with her signature truth-telling lyricism and genre-blending sound, TeaMarrr kicks off a new chapter — fully independent and more empowered than ever.

TeaMarrr Returns with Bold New Single “Tea Party” – Her First Independent Release

#TeaMarrr #TeaParty #NewMusic #IndependentArtist #AfroPop #HaitianArtist #SummerVibes

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Painting of a person in red garment with a smiling yellow cat.  
#seymourbottex #haitianart #haitianartist #artisthaitien #dogsinart #catsinart #caribbeanart #caribbeanartist #animalsinart #artanimalier #arteanimal #artcaribéen #animalart #gato #perro #feline #canine #cat #dog #modernart #naifpainting #peinturenaive #artmoderne #chien #chatsdinstagram #hund #katzenkunst #kat #katt #amourdechat

Painting of a person in red garment with a smiling yellow cat. #seymourbottex #haitianart #haitianartist #artisthaitien #dogsinart #catsinart #caribbeanart #caribbeanartist #animalsinart #artanimalier #arteanimal #artcaribéen #animalart #gato #perro #feline #canine #cat #dog #modernart #naifpainting #peinturenaive #artmoderne #chien #chatsdinstagram #hund #katzenkunst #kat #katt #amourdechat

Painting of a woman in blue garment eating from a bowl while a dog looks in greedily.  
#seymourbottex #haitianart #haitianartist #artisthaitien #dogsinart #catsinart #caribbeanart #caribbeanartist #animalsinart #artanimalier #arteanimal #artcaribéen #animalart #gato #perro #feline #canine #cat #dog #modernart #naifpainting #peinturenaive #artmoderne #chien #chatsdinstagram #hund #katzenkunst #kat #katt #amourdechat

Painting of a woman in blue garment eating from a bowl while a dog looks in greedily. #seymourbottex #haitianart #haitianartist #artisthaitien #dogsinart #catsinart #caribbeanart #caribbeanartist #animalsinart #artanimalier #arteanimal #artcaribéen #animalart #gato #perro #feline #canine #cat #dog #modernart #naifpainting #peinturenaive #artmoderne #chien #chatsdinstagram #hund #katzenkunst #kat #katt #amourdechat

Painting of a woman in red garment with a disproportionately large smoking cat.  There is a blue side table holding a vade with flowers at left.  
#seymourbottex #haitianart #haitianartist #artisthaitien #dogsinart #catsinart #caribbeanart #caribbeanartist #animalsinart #artanimalier #arteanimal #artcaribéen #animalart #gato #perro #feline #canine #cat #dog #modernart #naifpainting #peinturenaive #artmoderne #chien #chatsdinstagram #hund #katzenkunst #kat #katt #amourdechat

Painting of a woman in red garment with a disproportionately large smoking cat. There is a blue side table holding a vade with flowers at left. #seymourbottex #haitianart #haitianartist #artisthaitien #dogsinart #catsinart #caribbeanart #caribbeanartist #animalsinart #artanimalier #arteanimal #artcaribéen #animalart #gato #perro #feline #canine #cat #dog #modernart #naifpainting #peinturenaive #artmoderne #chien #chatsdinstagram #hund #katzenkunst #kat #katt #amourdechat

Credit: Seymour E. Bottex (Haiti, 1922 - 2016). First image is Untitled, 1965, oil on canvas, 75 x 65 cm. Second image is Girl With Dog. Third image is Girl With Cat.

coleccion.malba.org.ar/en/sin-titul...

#seymourbottex #haitianartist #dogsinart #catsinart #artsky #animalart #modernart #art

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Since I am a complete and utter fangirl, I really enjoyed the opportunity to ask Fabiola Jean Louis about her work:
www.artandobject.com/.../fabiola-....
#art&object #fabiolajeanlouis #fashionart #papercraft #installationart #haitianartist #fabuloussculpture

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Since hashtags actually work here, can artists start marking themselves based on their nationalities? Like

- #HaitianArtist
- #BrazilianArtist
- #KoreanArtist
- #RussianArtist
- #PolishArtist
- #PuertoRicanArtist

Because this is so much easier to find you and it’s educational in my opinion. 😭

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For some odd reason, I've just been randomly drawing a bunch of dissatisfied black faces. I think the spirit of Black History Month has reached me in a different way than usual this year lol

Might finish these in the future, idk.

#blackart #blackartist #haitianartist #blackhistorymonth

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Video

The voice actor v The Animation. "Peanut Headz: Black History Toonz" animated short.
#peanutheadz #blackhistorytoonz #voiceover #voiceactor #blackcartoons #exhibittreal #trealtoonz #jafleu #haitianartist #cartoonist #haitianamerican #younggiftedandblack

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