DRAPO
Playfulness and contestation are evident in “Twa Drapo.” The series consists of three (“twa” in Haitian Creole) drapo (or flags) featuring self-portraits of Michel Lafleur holding a dog, a cat, and geese, respectively, in the style of Belgian medieval religious banners. Depicting Lafleur lovingly holding pets, the banners challenge the anti-immigrant conspiracy theories propagated by then-presidential candidate Donald J. Trump, a false narrative that threatened a community of Haitians on TPS (Temporary Protected Status) in Springfield, Ohio.
Lafleur presents himself as a Black Other, a blank screen onto which social fears can be projected and exploited for political gain. But Lafleur sustains the gaze. Each “drapo” features Lafleur posing with one of the animals that Haitians had been accused of eating. However, Lafleur poses with distinctive attitudes and expressions, ranging from sad to sassy. In one “drapo,” he wears sunglasses and a gold watch while holding his own cat, a portrait inspired by his participation in Ghetto Gucci, a performance by choreographer Carima Neusser for the 2019 Ghetto Biennale and later reenacted during Documenta 15. The varying expressions and attitudes highlight Lafleur’s humanity: not only does he care for the animals tenderly, but he also embodies an emotional depth that emphasizes the very humanity the derogatory comments sought to undermine.
“Drapo” refers to Haitian Vodou flags, often adorned with beads and sequins to honor African lwas and deities. The series also reflects on Bogaert’s culture. Bogaert framed these images using fabric, ornaments, and cultural codes that draw attention to European religious banners.
Guillermina De Ferrari
Professor of Caribbean Literatures and Visual Cultures
University of Wisconsin-Madison