Acrylique sur carton ondulé, 2019
This painting is an invitation to reflect on the place of black women in art history (in representations and as artists).
The title refers to Lula Ann Bridewell, a fictional character from a novel by African-American writer Toni Morrison. In the story, Bridewell is born with dark skin. Growing up, the young woman chooses to wear only white clothes, thus emphasizing the beauty of her complexion. At the same time, the white garment and the title subversively propose a deconstruction of traditional roles to reflect on the place of black women in society.
The composition also refers to works by Edouard Manet (The Luncheon on the Grass and Olympia), questioning the evolution of representations in art history.
In her painting practice, her interest is in the relationship that humans have with their own body as well as the factors influencing their perception of bodies throughout history. She carves out space for her own identity by drawing on her Senegalese and Quebecois heritage while also reaching for a broader collective resonance. She sees tales and legends, pop culture and visual art as powerful subject matter for transforming paradigms. In her recent work, she draws inspiration from fictional literature (especially African-Canadian and African-American) to paint microcosms of intimacy with the spectator.