{"id":4185,"date":"2025-05-27T09:34:01","date_gmt":"2025-05-27T13:34:01","guid":{"rendered":"https:\/\/www.trincoll.edu\/reporter\/?page_id=4185"},"modified":"2025-05-28T14:54:49","modified_gmt":"2025-05-28T18:54:49","slug":"imaginative-interplay","status":"publish","type":"page","link":"https:\/\/www.trincoll.edu\/reporter\/the-trinity-reporter-spring-2025\/features\/imaginative-interplay\/","title":{"rendered":"Imaginative interplay"},"content":{"rendered":"

Story by Andrew J. Concatelli
\nPhotos by Nick Caito<\/p>\n

\u201cIt\u2019s really a feather in Trinity\u2019s cap,\u201d Leslie G. Desmangles says of the Edith A. Graham Collection of Haitian Art.<\/p>\n

The group of more than 320 paintings, sculptures, and objects is a treasure among the College\u2019s art collection, according to the professor of religious studies and international studies, emeritus.<\/p>\n

\"\"
Untitled (Madonna and Child) by Saincilus Isma\u00ebl<\/figcaption><\/figure>\n

Desmangles\u2019s friendship with Graham\u2014who had a 40-year commitment to Haitian art\u2014began in the 1970s and eventually led to Graham\u2019s children donating her collection to Trinity in 2008, after her death.<\/p>\n

\u201cTo have a collection that preserves the period of mid- to late-20th century Haitian art is of great value to the College,\u201d says Desmangles. \u201cIt can be shown to students to illustrate things that we teach. And it allows the College to make connections with other scholars and can help put Trinity on the map.\u201d<\/p>\n

The College has presented several exhibitions drawn from the collection since its acquisition and continues to find new ways for the artwork to encourage discussion and to spark imagination.<\/p>\n

Select pieces from the Graham Collection were part of a spring 2025 exhibition\u2014Echoes and Collisions: The Art of Frantz Patrick Henry in Conversation with Selections from the Edith A. Graham Collection of Haitian Art<\/em><\/a>\u2014in the Austin Arts Center\u2019s Widener Gallery.\u00a0<\/em>The show was organized by Trinity\u2019s Studio Arts Program and supported by the Center for Caribbean Studies.<\/p>\n

An artist from Haiti who creates sculptural installations, Henry learned about the collection through Pablo Delano, Charles A. Dana Professor of Fine Arts. The two met when Delano was invited to speak at NXTHVN, a nonprofit arts incubator lab in New Haven, Connecticut, where Henry was completing a fellowship.<\/p>\n

\"\"
Untitled (Women in the Shower Room) by Wilson Bigaud<\/figcaption><\/figure>\n

\u201cWhat I saw in his studio was somebody who was trying to process his cultural heritage through the lens of contemporary art,\u201d Delano says of Henry. \u201cArtists don\u2019t make art in a vacuum; they\u2019re always informed by the context they live in and the art that came before them.\u201d\u00a0Trinity already was planning an exhibition of selections from the Graham Collection, and Henry was invited to\u00a0respond to the historical pieces with works of his own. He chose eight objects from the collection with which he felt a personal, creative connection and wove in several of his sculptures.<\/p>\n

The result was a site-specific exhibition in which pieces in different media, from different time periods, combine in unique ways to comment on themes such as the evolving meaning of religion and the concept of home. Henry mounted one painting from the Graham Collection (Jean-Baptiste Bottex\u2019s Walls of Jericho<\/em>, 1967) on the back of his steel sculpture that resembled a motorcycle frame (Resurrection Highway<\/em>, 2024). The headlamp from that piece shone light through a sculpture from the collection (Serge Jolimeau\u2019s Zodiac, 20th century), which then cast a shadow that framed another of Henry\u2019s pieces (Vestiges of Light<\/em>, 2024) mounted on the opposite wall.<\/p>\n

\u201cI like to interact with the space, to create the environment. I\u2019m very interested in the ambience,\u201d says Henry, who fashioned a new wall through the center of the gallery to\u00a0represent\u00a0a home\u2019s front porch.\u00a0\u201cI wanted to communicate a traditional house you\u2019d see in Haiti. The shotgun house is one where you have different rooms, but you have access visually to everything because it\u2019s one straight line.\u00a0I separated the gallery in two to create layering with multiple rooms. From one point of view, you get to see everything. It\u2019s a complete work, and you\u2019re inside of it.\u201d<\/p>\n

\"\"
Henry<\/figcaption><\/figure>\n

Henry says he enjoyed the challenge of having a dialogue with the collection and exploring where his own style and vision either clashed or connected with the historical pieces. In his exhibition statement, Henry says, \u201cHere, cultural narratives intertwine, but sometimes misalign, reflecting the complexity of navigating art across different timelines.\u00a0. . . The result is a dynamic tension, where past and present do not always seamlessly align but instead create new, unexpected meanings.<\/p>\n

\u201cThis exhibition pays tribute to Edith A. Graham\u2019s legacy while embracing the unpredictability of cultural dialogue,\u201d he adds. \u201cIn this space, art becomes a force that collides, challenges, and ultimately expands our understanding of heritage and possibility.\u201d<\/p>\n

Echoes and Collisions<\/em> came at a time when the mainstream art world was beginning to acknowledge the importance of Haitian art, Delano says. \u201cIn 2024, the National Gallery of Art in Washington, D.C., opened a show of Haitian art titled Spirit & Strength: Modern Art from Haiti<\/em>,\u201d he says. \u201cAnd at the Venice Biennale last year, there was a whole room full of Haitian paintings, featuring some of the same artists represented in our collection.\u201d<\/p>\n

Haitian art generally is considered by scholars to be one of the most important examples of visual art of the African diaspora, Delano adds. \u201cHaitian art speaks to the whole Caribbean experience, as Haiti was the first free Black republic,\u201d he says. \u201cThis is meaningful for Trinity because the population of our home city of Hartford is over half people of Caribbean descent.\u201d He says he hopes the Graham Collection serves as a resource to scholars and an inspiration to Caribbean people.<\/p>\n

Delano says he believes that art collections and exhibitions at educational institutions like Trinity can stimulate ideas in ways that some\u00a0museums do not have the freedom to do. \u201cColleges can produce exhibits specifically for the purpose of raising questions and issues for people to discuss; they\u2019re not dependent on selling tickets or on catering to current trends,\u201d he says. \u201cThe value that they create is an intellectual value that can be used by the greater community as well.\u201d<\/p>\n

\"\"
Resurrection Highway by Henry with Walls of Jericho by Jean-Baptiste Bottex mounted on top<\/figcaption><\/figure>\n

Lisa Lynch, gallery director and organizing curator of the Widener Gallery, also says she feels that generating thought and debate is a crucial role of art on a college campus. \u201cCollege collections enhance the community\u2019s experience on many levels. These collections enable object-based learning for students and can be used for faculty research in various disciplines,\u201d Lynch says. \u201cExhibitions that present these objects in dynamic and innovative ways can expand our perceptions and broaden our understanding.\u201d<\/p>\n

In recent decades, advancements have been made in expanding the traditional art history canon, Lynch says, and it\u2019s important for Trinity\u2019s collection to reflect this significant change. \u201cThis exhibit used the Graham Collection in a new way, and it celebrated Haiti\u2019s rich culture. Amid the political strife and natural disasters that appear on the news, one can easily overlook the country\u2019s vibrant artistic and cultural traditions,\u201d she says. \u201cI hope that this exhibition prompts students of art and art history to think about how they and their contemporaries honor or grapple with their heritage. Addressing the past or incorporating traditional objects into their work can lead to dissonance, harmony, or both.\u201d<\/p>\n

Art that looks at complex global histories and cultural relationships can be challenging, Lynch adds, but that\u2019s often the point. \u201cSometimes art is beautiful and offers an escape, and sometimes it\u2019s difficult and uncomfortable,\u201d she says. \u201cAll of that promotes deeper thinking as we grapple with current local and global issues.\u201d<\/p>\n

Header image: Liminal Frameworks<\/em> by Frantz Patrick Henry<\/p>\n

 <\/p>\n

\n

About the artist<\/h4>\n

Frantz Patrick Henry is an artist of Haitian origin who has been living in Montreal since 2011. Henry, who graduated from Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al in 2019, received the McAbbie Foundation Sculpture Excellence Grant from the School of Visual and Media Arts (UQAM) for his installation\u00a0Je suis nouveau ici<\/em>\u00a0(2020) and the Elizabeth Greenshields Foundation Grant and the Explore and Create Grant from the Canada Council for the Arts for his upcoming solo exhibition in Toronto,\u00a0Am I a hero?\u00a0<\/em>(September 2025). Having recently completed an M.F.A. in sculpture at Yale School of Art, he is a fellow at NXTHVN, an art incubator lab in New Haven, Connecticut.<\/p>\n

A multidisciplinary artist, Henry explores the theme of \u201cbecoming\u201d through sculpture, painting, and installation. He says that by appropriating everyday objects diverted from their function, his works often unfold in the form of a site promoting relations with the viewer, which invites them to an experience of self-reconstruction.<\/p>\n

\n

The College\u2019s art collection<\/h4>\n

The Trinity College Art Collection includes more than 4,000 pieces, says Christina Bleyer, College librarian, associate vice president of libraries and digital learning, and director of special collections and archives at the Watkinson Library.<\/p>\n

The collection was put under the stewardship of the Watkinson Library in 2023 and is overseen by the College\u2019s first full-time art collection manager, Barbara Sternal, who originated the position at Trinity in spring 2024. About half of the total collection has been formally documented and cataloged\u2014a process in the art world known as accession\u2014and Sternal has so far added more than 750 pieces to the JSTOR digital repository.<\/p>\n

\u201cThis is the first time the full art collection will be searchable and viewable by the public,\u201d Bleyer says. \u201cAnyone, even outside of Trinity, can search our art collection online, and museums can request to borrow pieces for exhibitions. We are committed to making the art collection accessible however we can.\u201d<\/p>\n

\"\"
Trinity Elms in Autumn<\/em> by Robert W. Starkey \u201974<\/figcaption><\/figure>\n

Bleyer says that the mission of the Trinity College Art Collection is to support teaching using original works of art, to preserve works of art entrusted to the Trustees of Trinity College, and to document and make such works accessible for study to students, faculty, and the public. Assembled largely from gifts by alumni and other donors, the College\u2019s collection includes a diverse range of objects and numerous time periods. Individual collections include 14th\u2013 to 16th\u2013century European paintings from the Samuel H. Kress Foundation Study Collection, 18th\u2013 to 19th\u2013century Japanese woodblock prints from the Philip Kappel Collection of Prints, Trinity College Presidential Portraits, the Edwin Blake Memorial Collection, the George Chaplin Collection, and the Edith A. Graham Collection of Haitian Art.<\/p>\n

\u201cThe Trinity collection has some really wonderful works in it, and the Graham Collection is the jewel in the crown,\u201d Bleyer says.<\/p>\n

Various pieces from the art collection are on view in public buildings throughout campus and often are featured in special exhibitions in Trinity\u2019s Widener Gallery. When not on display, some pieces are secured in an art vault on campus, while the rest are stored in the library.<\/p>\n

\u201cFor faculty, staff, and students in all majors, pursuing a dialogue with works of art is the creation of new knowledge,\u201d Bleyer says. \u201cIt\u2019s a different way\u2014beyond reading and writing\u2014of engaging with what makes us human, offering a unique approach to the central questions that a liberal arts education asks and attempts to answer.\u201d<\/p>\n

Photo Courtesy of the Trinity College Archives<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Story by Andrew J. Concatelli Photos by Nick Caito \u201cIt\u2019s really a feather in Trinity\u2019s cap,\u201d Leslie G. Desmangles says of the Edith A. Graham Collection of Haitian Art. The group of more than 320 paintings, sculptures, and objects is a treasure among the College\u2019s art collection, according to the professor of religious studies and […]<\/p>\n","protected":false},"author":139,"featured_media":0,"parent":4149,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-4185","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nImaginative interplay - The Trinity Reporter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.trincoll.edu\/reporter\/the-trinity-reporter-spring-2025\/features\/imaginative-interplay\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Imaginative interplay\" \/>\n<meta property=\"og:description\" content=\"Story by Andrew J. 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