WORKS

Circular

Haiti, Tuesday, January 12, 2010

Circular

Untitled

Circular

Restaurant doors depicting Sheikh Amadou Bamba and Sheikh Ibra Fall

Circular

The Tree of Death: Factory Women

Circular

Guatama's Pilgrimage to Ashtapada

Haiti, Tuesday, January 12, 2010

museum label

|

image

|

model

|

summary video

Myrlande Constant

b. 1968, Port-au-Prince, Haiti

Haiti madi 12 janvye 2010

Haiti, Tuesday, January 12, 2010

2012

Haiti

Fabric, beads, sequins

Fowler Museum at UCLA,

X2013.35.1a-p

Fowler Museum at UCLA. Museum purchase with funds provided by the Fay Bettye Green Fund to Commission New Work, Jerome Joss Endowment Fund, Shirley and Ralph Shapiro Fund in memory of Ethel Berns, and Charles and Carolyn Knobler

239

cm

x

249

cm

Constant created Haiti Mardi 12 Janvye 2010 after the catastrophic 2010 earthquake. Over the course of a year, she filled the canvas with scenes she had witnessed in her own community. Tombs and the cityscape converge on the same picture plane, collapsing into each other. As Constant said, "On that day the city became a cemetery." Images of Haitians experiencing pain, grief, and chaos appear alongside individuals helping one another. Gede, Grann Brijit, and Bawon Samdi, lwa of death and sexual regeneration, command the foreground. Gede, ordinarily a joyful trickster, is on his knees, weeping. His disbelief echoes the words stitched on the two tablets: "Look at our suffering! We cannot count how many thousands of bodies have died, have disappeared, in the earthquake on 4:53 pm, Tuesday, January 12, 2010."

Circular

Jerry

Philogene

Circular

Gina Athena

Ulysse

Circular

Myriam J. A.

Chancy

Circular

Kyrah Malika

Daniels

Circular

Katherine

Smith

Circular

Jean-Daniel

Lafontant

Circular

Mamyrah

Dougé-Prosper

WORKS

Circular

Haiti, Tuesday, January 12, 2010

Circular

Untitled

Circular

Restaurant doors depicting Sheikh Amadou Bamba and Sheikh Ibra Fall

Circular

The Tree of Death: Factory Women

Circular

Guatama's Pilgrimage to Ashtapada

Haiti, Tuesday, January 12, 2010

museum label

|

image

|

model

|

summary video

Myrlande Constant

b. 1968, Port-au-Prince, Haiti

Haiti madi 12 janvye 2010

Haiti, Tuesday, January 12, 2010

2012

Haiti

Fabric, beads, sequins

Fowler Museum at UCLA,

X2013.35.1a-p

Fowler Museum at UCLA. Museum purchase with funds provided by the Fay Bettye Green Fund to Commission New Work, Jerome Joss Endowment Fund, Shirley and Ralph Shapiro Fund in memory of Ethel Berns, and Charles and Carolyn Knobler

239

cm

x

249

cm

Constant created Haiti Mardi 12 Janvye 2010 after the catastrophic 2010 earthquake. Over the course of a year, she filled the canvas with scenes she had witnessed in her own community. Tombs and the cityscape converge on the same picture plane, collapsing into each other. As Constant said, "On that day the city became a cemetery." Images of Haitians experiencing pain, grief, and chaos appear alongside individuals helping one another. Gede, Grann Brijit, and Bawon Samdi, lwa of death and sexual regeneration, command the foreground. Gede, ordinarily a joyful trickster, is on his knees, weeping. His disbelief echoes the words stitched on the two tablets: "Look at our suffering! We cannot count how many thousands of bodies have died, have disappeared, in the earthquake on 4:53 pm, Tuesday, January 12, 2010."

Circular

Jerry

Philogene

Circular

Gina Athena

Ulysse

Circular

Myriam J. A.

Chancy

Circular

Kyrah Malika

Daniels

Circular

Katherine

Smith

Circular

Jean-Daniel

Lafontant

Circular

Mamyrah

Dougé-Prosper

WORKS

Circular

Haiti, Tuesday, January 12, 2010

Circular

Untitled

Circular

Restaurant doors depicting Sheikh Amadou Bamba and Sheikh Ibra Fall

Circular

The Tree of Death: Factory Women

Circular

Guatama's Pilgrimage to Ashtapada

Haiti, Tuesday, January 12, 2010

label

|

image

|

model

|

video

Myrlande Constant

b. 1968, Port-au-Prince, Haiti

Haiti madi 12 janvye 2010

Haiti, Tuesday, January 12, 2010

2012

Haiti

Fabric, beads, sequins

Fowler Museum at UCLA,

X2013.35.1a-p

Fowler Museum at UCLA. Museum purchase with funds provided by the Fay Bettye Green Fund to Commission New Work, Jerome Joss Endowment Fund, Shirley and Ralph Shapiro Fund in memory of Ethel Berns, and Charles and Carolyn Knobler

239

cm

x

249

cm

Constant created Haiti Mardi 12 Janvye 2010 after the catastrophic 2010 earthquake. Over the course of a year, she filled the canvas with scenes she had witnessed in her own community. Tombs and the cityscape converge on the same picture plane, collapsing into each other. As Constant said, "On that day the city became a cemetery." Images of Haitians experiencing pain, grief, and chaos appear alongside individuals helping one another. Gede, Grann Brijit, and Bawon Samdi, lwa of death and sexual regeneration, command the foreground. Gede, ordinarily a joyful trickster, is on his knees, weeping. His disbelief echoes the words stitched on the two tablets: "Look at our suffering! We cannot count how many thousands of bodies have died, have disappeared, in the earthquake on 4:53 pm, Tuesday, January 12, 2010."

Circular

Jerry

Philogene

Circular

Gina Athena

Ulysse

Circular

Myriam J. A.

Chancy

Circular

Kyrah Malika

Daniels

Circular

Katherine

Smith

Circular

Jean-Daniel

Lafontant

Circular

Mamyrah

Dougé-Prosper

WORKS

WORKS

The works featured here are drawn from the Fowler Museum’s collection at UCLA. The initial selection was curated to reflect the diverse geographies and traditions represented within UCLA’s collections.

Some of these works may be described as "devotional," "religious," or "sacred," while others hold “spirited” significance tied to the identity and well-being of individuals and communities. While some were created for devotional practices and used in sacred or religious spaces, others were produced for the art market or museum display.

For materials of a sacred or religious nature, we acknowledge the profound rupture that occurs when they are removed from their original contexts and communities. Stripped of their intended functions, these works are often commodified as art, displayed in museums, or placed in vitrines—separated from their original purpose and meaning. While a digital presentation cannot resolve this disconnection, it aims to foster critical conversations about the care, display, and, in some cases, the ownership of these materials.

As users engage with each work, they will encounter the museum’s label and provenance information as an entry point. From there, they are encouraged to explore multiple interpretations, offering diverse perspectives on each piece.