“I feel like the only person who would’ve understood me is an adult me.” “Dinner” is an imaginary meeting between her adult self and her child self sitting down together at a table. “I was a rowdy little girl, and I was misunderstood,” she says. She began thinking of her childhood and her younger self. The textures are a way to explore memory in a tactile manner.”ĭuring the first two years of the pandemic, through isolation and the self-reflection it threw up, Brièrre’s own memories were jogged. “I mostly want it to feel like something you've seen before, like you already have a memory of this drawing. “Adding texture gives it some kind of nostalgia or it makes it palpable to me,” she says. She manipulates the brush tools in Photoshop to produce a look just like grainy Risograph or raw woodcut prints. “I’m very interested in making my illustrations look aged,” she says of the textures she adds. Looking at Brièrre’s work, you can almost feel the catch of the paper through the computer screen, but she works exclusively digitally. “I’ve found that I fit best there instead of in the contemporary art canon.” “I'm very inspired by folklore in ‘naive’ art, and outsider art in general,” she says. She blends and borrows from both in her mystical, wickedly playful and color-saturated scenes, with more of a deep bow than just a nod to Haitian surrealist painters like Hector Hyppolite, and the stylings of Ghanaian barber shop signage.
Brièrre was born and grew up in Haiti where she was exposed to powerful visual languages the striking symbolism from folklore intrinsic to the culture and the iconography of Catholicism.
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