Why is heritage, and particularly African heritage, such an important aspect of creating art?
Because legacy is not nostalgia; It is a living archive. African heritage in particular has been misrepresented or reduced for centuries. By weaving it into contemporary, even futuristic, frameworks, I not only reference it but expand upon it, demonstrating its sophistication, depth, and ongoing relevance to global culture.
“Ivorian masks” are part of the exhibition. How do you deal with incorporating cultural assets into your work respectfully and without losing their integrity?
The masks are not a motif that I take from outside, they are part of my own cultural DNA. Even the brand's signature mask is a personal emblem, symbolizing the merging of worlds and, in my case, the merging of my multicultural background. Working with Ivorian masks in this experience is therefore not an external “exploration” but rather an affirmation of heritage. When I include them, I view them as living symbols rather than decorative elements. I study their context and translate their spirit into new forms without distorting their meaning. In doing so, I am making a statement about continuity: how ancient objects can exist in dialogue with contemporary design and how tradition can remain intact even as it continues to develop.
Since you were born in Brazil and grew up in Ivory Coast and the United States, you probably had to learn to adapt and find your personal identity. How has this shaped the way you create?
Living between cultures has taught me to embrace paradoxes. For years I felt divided, but in my work this feeling of fragmentation becomes a source of fusion. I now create from multiple regions and stories simultaneously, with an openness to weave disparate elements into a coherent whole. Therefore my pieces seem to exist across different times and places and yet speak with one voice, they are my lived experience translated into form.