Moving to Haiti at the crux of forming the construction of what it was to become a man was something that has changed my perception of masculinity in general.
With this installation I was looking at the tie between the construction of the streets and the perpetuation of masculinity. I assign the street the role of the stage, a place where characters can exhibit themselves. This is a play on the crossroads of Afro-Caribbean and African spiritual belief. The characters are taken from popular Haitian society. These were the characters that I have used to construct my perception of masculinity.
The fresco man (the mechant with the cart) embodies endless work as a model for masculinity. As a father and husband I feel the cultural weight of being a good provider.
The drunk is the escapist in me that I try not to feed with too much dancing, drugs, or alcohol. That is a model of manhood that pulls humanity apart.
The molotov cocktail man is my version of the machete man of the Haitian revolution. He physically creates change and assert a physical justice. I want his conviction and courage.
The most horrific thing that I absorbed in Haiti was dehumanizing people for a political purposes. The man in the truck tires is a burning statue. A sacrificial man who’s enemies found to be less valuable than an idea.