The continual search for connection is one of the needs behind the works of Laetitia Adam-Rabel; it serves as a continuous urge that seeks to be fulfilled. Integrating into a new society pressures us to assimilate away our origins and cultures, a necessary evil at times that is required to fulfill a so-called “social status quo”. Yet assimilation itself isn’t a comfortable process, one that leads to the individual’s surrendering of qualities of themselves that they may never fully regain. The loss is not always a metaphor for an emotional state, and can often seep into the physical realm by displacing personal objects that retain the qualities of one’s self, taking an even larger toll on the recovery of our original being. The trials and tribulations that come with this reclamation process extend far past our here and now, as the next generation sticks to the remnants of mismatched origins, beginning the journey anew.
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Deoxyribose Nucleic Acid Floating through Time and Space, 2021
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As a Haitian-American working in the culturally diverse Miami area, Adam-Rabel seeks to break the culture of assimilation that found her longing for a home she had barely begun to experience. Beyond the expression of her being forced to hold her culture near without displaying it to an outside world, and a desire to comment on the alleged necessity of cultural conformity, Adam-Rabel's work has transformed, aimed at introducing her daughter to a culture that she will inherit, and in turn pass down.
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Faussilization series
The debut of Adam-Rabel’s Faussilization series, a term invented by the artist to refer to art objects which resemble historical artifacts, amongst a range of multimedia works serves as the basis for the exploration of a cultural identity she's building for the next generation. These works act as found objects and cultural artifacts of a civilization lost to the same circumstances faced in the process of assimilating
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Mother and Child Too, 2021.
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