Join us for Pérez Art Museum Miami's (PAMM) Live Studio Visits, a series that highlights local artists through virtual visits with PAMM curators. Get a first-hand look at the artists' work and practice through this intimate lens.
This month, artist Morel Doucet will join in conversation with PAMM Curator María Elena Ortiz to discuss ways in which he employs ceramics, illustrations, and prints to examine the realities of climate-gentrification, migration, and displacement within the Black diaspora communities.
RSVP to join us live!
Morel Doucet (b. 1990, Pilate, Haiti) is a Miami-based multidisciplinary artist and arts educator. His work portrays a contemporary depiction of the Black experience, cataloging a powerful record of environmental decay at the intersection of economic inequity, the commodification of industry, personal labor, and race. Doucet's Emmy-nominated work has been featured and reviewed in numerous publications, including Vogue Mexico, Oxford University Press, Hyperallergic, Biscayne Times, and Hypebeast. He graduated from the New World School of the Arts with the Distinguished Dean's Award for Ceramics. From there, he continued at the Maryland Institute College of Art, receiving his BFA in Ceramics with a minor in creative writing and concentration in illustration.
Doucet has exhibited extensively in prestigious national and international institutions, including at the Havana Biennial; the African Heritage Cultural Arts Center, Miami; the National Council on Education for Ceramic Arts, Pittsburgh; American Museum of Ceramic Art, Pomona; Museum of Contemporary Art North Miami; Flaten Art Museum; St. Olaf College; São Tomé et Príncipe; Haitian Heritage Museum, Miami; and Patricia & Phillip Frost Art Museum, Miami.
María Elena Ortiz is a curator at PAMM, where she is spearheading the Caribbean Cultural Institute (CCI). At PAMM, Ortiz has organized several projects including The Other Side of Now: Foresight in Contemporary Caribbean Art (2019); Latinx Art Sessions (2019); william cordova: now's the time (2018); Beatriz Santiago Muñoz: A Universe of Fragile Mirrors (2016); Ulla von Brandenburg: It Has a Golden Sun and an Elderly Grey Moon (2017); Firelei Báez: Bloodlines (2015); and Carlos Motta: Histories for the Future (YEAR). Ortiz has contributed to writing platforms such as the Davidoff Art Initiative, Terremoto Magazine, and others. A recipient of the Colección Patricia Phelps de Cisneros (CPPC) and Independent Curators International (ICI) Travel Award for Central America and the Caribbean, Ortiz's curatorial practice is informed by the connections between Latinx, Latin American, and Black communities in the US and the Caribbean.