Fabiola Jean-Louis prefers to call herself a visual activist rather than an artist. For her, artistic practice is a journey towards freedom and an act of resistance. Questions of cultural identity, representation, colonialism, history and spirituality inform her current solo exhibition at the Isabella Stewart Gardner Museum: Waters of the Abyss: An Intersection of Spirit and Freedom.

The show is an invitation to experience transformation and transcendence via the beliefs, aesthetics and symbols of Haitian Vodou culture. As Jean-Louis wrote in the publication accompanying Waters of the Abyss, “the wellness of the the physical world depends on communication with waters of the abyss: source of life force, cosmic memory, and wisdom.”

Fabiola Jean-Louis in front of *Lwa* in the exhibition Waters of the Abyss: An Intersection of Spirit and
Freedom. Isabella Stewart Gardner Museum, Boston.

Lwa, (2021-2022) presides over the Gardner’s Hostetter Gallery, setting the exhibition’s ethereal, majestic tone. Created entirely of papier-mâché, with painted surfaces and applied abalone shells, glass, crystal, and metal, the imposing spirit guide is the largest work in the show, a showcase of Jean-Louis’s talent.

Waters of the Abyss features paintings, sculpture and installation made using an elaborate papier-mâché method the artist developed in her Brooklyn studio. While the paper niche forms and the Lwa sculpture were made during a residency at the University of Central Arkansas, and a paper dress exhibited in the Fenway Gallery, Justice of Izili, 2021, was commissioned for Before Yesterday I Could Fly: An Afro Futurist Room, at the MET, all of the remaining 37 artworks were made for the Gardner show.

“I know what the work is and what the work needs to be to not only survive this time, but to also be a light in a time of darkness”

— Fabiola Jean-Louis

This exhibition (which follows Rewriting History, featuring Jean-Louis’s photography, paper textiles and sculpture mounted at the Gardner during her 2022 residency), could not be more timely. In the wake of decades of natural disasters, political turmoil and widespread hunger, Haiti is experiencing one of the world’s worst humanitarian crises. Armed gangs and militias, emboldened by the power vacuum, terrorize civilians, and the situation continues to worsen. On March 19, the UN reported that over 60,000 Haitians had been forced to flee their homes in the capital Port-a-Prince last month due to intensifying violence. Despite the constant threat to human life, the Trump administration ordered a rollback of Temporary Protected Status for Haitians, (as well as Cubans, Venezuelans and Nicaraguans) which will take effect later this spring.

The paper niche forms in the smaller Hostetter gallery. Isabella Stewart Gardner Museum,
Boston.

Fabiola Jean-Louis, *Celestial Portal*, 2024. Papier-mâché, shells, crystals, glass, resin, smokey crystal quartz, brass. ©2024 Fabiola Jean-Louis. Photo: Isabella Stewart Gardner Museum, Boston.

Massachusetts has the third largest Haitian population in the country, but it feels like there is an abyss between the suffering in Haiti and the focus of the local—and global—communities.

Jean-Louis’s work redirects our attention. Through her deeply spiritual practice and extensive research, she has designed an alternate vision of Haitian experience, one where the spirit world and the mortal world connect, and ancestors offer protection, wisdom and magic. Her paper sculptures resemble ancient relics and artifacts. Her paper dresses, worn by Black women in her photography, convey pride, dignity and resilience.

Jean-Louis’ material vernacular includes glass, shells, mirrors, sequins and crystals—ornamentation deeply symbolic in the Vodou religion. Her layered, hand sculpted constructions speak to her visual activism. Spirits commune with natural elements to create what she calls portals to the intangible, the metaphysical, the realm beyond,.

I caught up with Jean-Louis to discuss her dive into the waters of the abyss, her reasons for choosing paper and the importance of keeping Haiti close even when she’s far away. This interview took place over email and has been edited for length.

Misstropolis: Thank you for this very moving show. It’s fascinating to see how the history, folklore and religion of Haiti inform your practice and your way of moving through the world. Do you still have family in Haiti? Are you able to visit?

Fabiola Jean-Louis, *All That Was and Nevermore*, 2024. Papier-mâché, paint on paper, crystals, resin enamel, sequins, beads, and mixed media decorations. ©2024 Fabiola Jean-Louis. Photo: Isabella Stewart Gardner Museum, Boston.

Fabiola Jean-Louis: I make it a priority to travel back to Haiti with my children as often as I can, as it is essential for them to connect with their roots and experience the rich culture and history of our homeland.

These journeys are not just trips—they are vital acts of reconnection, allowing us to honor our ancestors, engage with the land, and draw inspiration from the resilience and creativity of the Haitian people. Each visit strengthens our ties to Haiti and deepens my commitment to telling its stories through my art.

This connection is vital to me—it keeps me rooted, reminds me of where I come from, and fuels my work as an artist. Through them, Haiti remains alive in my heart, and I am reminded that family is not just about blood but about the bonds we create and the love we share.

MT: Do certain architectural sites or styles influence your designs?

FJL: The arches, portals, and shrines I create are inspired by Vodou temples, sacred crossroads, and Haitian Kanaval artistry, reflecting the intersection of the human and spiritual worlds.

Fabiola Jean-Louis, *Peregrine*,2024. Papier-mâché, crystal, dried flower, stone. ©2024 Fabiola Jean-Louis. Photo: Isabella Stewart Gardner Museum, Boston.

I am also profoundly inspired by ancient cities like those of the Aztecs, Mayans, Egyptians, and Petra—how they were carved out of stone landscapes, which led me to think of the body as a landscape, an idea explored in my Peregrine sculpture. Ruins, too, captivate me; they speak to resilience, memory, and the passage of time.

These influences merge with Haiti’s natural landscapes—its mountains, rivers, and coastal waters—to create immersive, transformative spaces that honor the past and envision a liberated future.

MIT: Do you consider the works exhibited in Waters of the Abyss part of one imagined world?

FJL: Yes, the works are part of a cohesive imagined world—a metaphysical landscape where the ancestors reside and where the spiritual and mortal realms intersect. While individual pieces may vary in style or context, they are unified by their exploration of Haitian Vodou, Black freedom, and the cosmic mirror. For example, the red cape on Lwa mimics the Paradise Lost gown, and Justice of Ezili may feel distinct, but they all exist within the same spiritual and narrative framework. This world is immersive, inviting viewers to journey through the abyss and connect with the deeper truths of who we are.

MT: Can you explain why paper is a sacred and evocative material for you, and how you started working in papier-mâché?

FJL: Paper symbolizes identity, existence, and the power to rewrite narratives. Historically, paper has been used to document and control marginalized communities, particularly during colonialism. By reclaiming it, I transform it into a medium of empowerment and repair.

My journey with papier-mâché began as an extension of my exploration into photography and sculpture. I started using paper because of its versatility and accessibility, allowing me to create intricate, layered works that reflect the complexity of my themes—spirituality, history, and freedom.

Fabiola Jean-Louis, *Ode to Merab: Study of Ateni Sioni Frescos*, 2023. Papier mâché, acrylic, 23K gold. ©2024 Fabiola Jean-Louis. Photo: Isabella Stewart Gardner Museum, Boston.

MT: Are you at all influenced by papier-mâché masks and figures made for Kanaval?

FJL: The papier-mâché masks and figures of Kanaval, particularly from Jacmel, are a profound influence on my work. These creations are not just artistic expressions, but also deeply spiritual and cultural symbols. They embody the resilience, creativity, and vibrancy of Haitian culture. The way these masks and figures transform the wearer or viewer, bridging the human and spiritual realms, resonates deeply with my own artistic goals. They remind me of the power of art to transcend boundaries and connect us to our ancestors and traditions.

“The act of collecting and transforming this paper is symbolic, reflecting the broader themes of reclamation and repair that are central to my artistic vision.”

— Fabiola Jean-Louis

MT: What kind of paper pulp do you use? Do you make it yourself? Does it matter to you where it comes from or from what kind of trees it is made?

I use recycled newspapers collected from my community in Little Haiti, Brooklyn. There’s an almost symbiotic relationship between gathering discarded paper here and addressing the overwhelming waste in parts of Haiti. This practice is deeply tied to my environmental consciousness and my belief in transformation—both in my art and in the world. It matters to me that the paper is recycled because it embodies the very essence of transformation that I explore in my work. By repurposing what has been discarded, I contribute to a cycle of renewal and hope, even if in a small way. The act of collecting and transforming this paper is symbolic, reflecting the broader themes of reclamation and repair that are central to my artistic vision.

Fabiola Jean-Louis, *Ayiti-Tomè*, 2025. Digital Composite Vinyl on the Anne H. Fitzpatrick Façade.

MT: Can you talk about your notion of time and how this is influenced by Vodou thought and traditions?

FJL: In my work, time is fluid and nonlinear—a reconstruction of past, present, and future. This concept is deeply influenced by Vodou thought, which emphasizes the interconnectedness of time and the importance of honoring ancestors while envisioning a liberated future. The cosmic mirror in Vodou symbolizes this intersection, where the vertical plane (the metaphysical world) and the horizontal plane (the mortal world) meet. This framework allows for communication with ancestors and spirits, creating a timeless space where healing, empowerment, and knowledge are accessed. Time, in this sense, is a portal through which we connect with the deepest truths of who we are.

Fabiola Jean-Louis, *An Entry Point to Heaven #1,* 2024. Papier-mâché, shells, crystals, glass, resin, copper. ©2024. Fabiola Jean-Louis. Photo: Isabella Stewart Gardner Museum, Boston.

MT: Is connecting with ancestors ever literal or tangible, have you made connections? Or is it more theoretical?

FJL: Connecting with ancestors is both literal and tangible in my work. In Vodou, the ancestors and spirits (Iwa) are ever-present, and rituals, offerings, and spiritual practices create tangible connections with them. While my art may not involve literal rituals, it serves as a bridge to the metaphysical world, creating a space where viewers can engage with ancestral energies. The use of symbols like the cosmic mirror and water evokes a tangible connection to the spiritual realm, making the ancestral presence felt in my work. It’s not just theoretical—it’s a lived experience that shapes and informs my creative process.

Fabiola Jean-Louis, *Out of Obsidian*, 2024. Obsidian Stone, 23K gold, papier-mâché. ©2024 Fabiola Jean-Louis. Photo: Isabella Stewart Gardner Museum, Boston.

MT: What do mermaids represent for you?

FJL: Mermaids in Waters of the Abyss symbolize transformation, fluidity, and the connection between the human and spiritual worlds. In Haitian Vodou and broader African diasporic traditions, water spirits like La Sirène are powerful intermediaries between realms. Mermaids also represent the journey through the abyss—the cosmic mirror—where one accesses deeper truths and cosmic selves. They are guides, leading us through the beautiful chaos of nature to the place where the ancestors reside.

The exhibition *Waters of the Abyss: An Intersection of Spirit and Freedom* in the Hostetter Gallery, 27 February 2025 – 25 May 2025. Isabella Stewart Gardner Museum, Boston.

MT: Why is water so important, so symbolic in your practice?

FJL: Water is central to my work because it represents the abyss, the cosmic mirror, and the intersection of the mortal and metaphysical worlds. In Vodou, water is a conduit for spiritual communication and transformation. It also symbolizes the Middle Passage, the transatlantic slave trade, and the resilience of African diasporic communities. Water’s fluidity and depth reflect the complexities of Black identity, freedom, and spiritual connection. It is a powerful symbol of life, renewal, and the interconnectedness of all things.

“Just as Isabella Stewart Gardner installed sacred objects and altars throughout her Museum, Fabiola invites us to engage with global religious traditions as well as her own personal spiritual journey”

— Peggy Fogelman, Norma Jean Calderwood Director of the Isabella Stewart Gardner Museum

Waters of the Abyss: An Intersection of Spirit and Freedom, is on view at the Isabella Stewart Gardner Museum through May 15, 2025.