Imperial Strike
Lean on me,
We, the Greater Universe
Lean on me, 2023, plaster particles on roofing paper, magazines, luster photo print, neutral ph adhesive, and double-sided adhesive tape, , 81” * 38”
We, the Greater Universe, 2023, plaster particles on asphalt roofing paper, magazines, luster photo print, neutral ph adhesive, and double-sided adhesive tape, 81" * 38"
Imperial Strike, 2023, plaster particles on asphalt roofing paper, magazines, luster photo print, neutral ph adhesive, and double-sided adhesive tape, 81" * 38"
Thug Life, 2023, plaster particles on asphalt roofing paper, magazines, luster photo print, neutral ph adhesive, and double-sided adhesive tape,81" * 38"
I, Used to Be (x), 2021, plaster particles on roofing paper, double sided adhesive tape, 81" * 38"
I, Used to Be (xiii), 2021, plaster particles on roofing paper, double-sided adhesive tape, 81" * 38"
Perhaps Descartes' greatest theory, je pense, donc je suis (I think, therefore I am), encapsulates the hypocrisy of the French Enlightenment Era. What does it mean for the French and (white)man to have agency yet simultaneously and ironically colonize Haiti? Meris traces his francophone subjectivity using plaster particulates that fall from his kinetic sculptures, Now You See Me, Now You Don't, to create a sense of his own agency in his I, Used To Be drawings. I Used to Be drawings are made on roofing paper, a culturally and geographically specific material to his life in the Bahamas, where roofs are commonly blown away after a hurricane, and on double-sided tape, similar to EZ-fly traps specific to tropical climates. These drawings aim to map the abstract nature of freedom, moving from the concrete subjectivity of the body to the endless possibilities of abstraction.
I, Used to Be (xiv), 2021, plaster particles on roofing paper, double-sided adhesive tape, 81" * 38"
I, Used to Be (v), 2021, plaster particles on roofing paper, double-sided adhesive tape, 81" * 38"
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