Asefi (enough daughters), Bernard Séjourné

Artwork Overview

Asefi (enough daughters), Bernard Séjourné
Asefi (enough daughters), Bernard Séjourné
Bernard Séjourné
Asefi (enough daughters)
1975
Bernard Séjourné, artist
1947–1994
Asefi (enough daughters), 1975
Where object was made: Haiti
Material/technique: paint; hardboard
Dimensions:
Canvas/Support (Height x Width x Depth): 104 x 101 cm
Canvas/Support (Height x Width x Depth): 40 15/16 x 39 3/4 in
Frame Dimensions (Height x Width x Depth): 41 x 40 1/4 x 1 1/4 in
Credit line: Mary Lou Vansant Hughes Collection
Accession number: 2011.0323
On display: Michaelis Gallery
Add to portfolio

If you wish to reproduce this image, please submit an image request

Images

Label texts

Empowerment

Subtly hinting at the connection between Haitian people and the transatlantic slave trade, the elongated neck and facial features of this young Haitian woman are reminiscent of Senegalese women in West Africa. Dressed in white and framed by an arched opening, this figure may represent an impending spiritual journey. In Christianity, white can reference baptism and marriage. Likewise, in the Vodou religion worshippers and initiates wear white during ceremonies to demonstrate peace, humility, and purity.

Empowerment

Subtly hinting at the connection between Haitian people and the transatlantic slave trade, the elongated neck and facial features of this young Haitian woman are reminiscent of Senegalese women in West Africa. Dressed in white and framed by an arched opening, this figure may represent an impending spiritual journey. In Christianity, white can reference baptism and marriage. Likewise, in the Vodou religion worshippers and initiates wear white during ceremonies to demonstrate peace, humility, and purity.

The Ties that Bind: Haiti, the United States, and the Art of Ulrick Jean-Pierre in Comparative Perspective

The elongated neck and facial features of this young Haitian woman are reminiscent of Senegalese women in West Africa, subtly hinting at the connection between Haitian people and the transatlantic slave trade. Her name, Asefi, means “enough daughters” in Haitian Creole. Perhaps she is the last of many daughters in the family, or maybe her name symbolizes the
disappointment her family feels after the birth of yet another girl. The arched opening, eloquent geometry, and symmetrical representation of this portrait convey an aesthetic often found in religious works, a connection possibly befitting the young woman portrayed. Her white blouse and headscarf may represent an impending spiritual journey. In Christianity, white is often associated with baptism and marriage; likewise, in the Vodou religion, worshippers and initiates wear white during ceremonies to demonstrate modesty and purity.

The Object Speaks

The arched opening, eloquent geometry, and symmetrical representation of this portrait convey an aesthetic often found in religious works, a connection possibly befitting the young woman portrayed. Her elongated neck and facial features are reminiscent of Senegalese women in West Africa. Her name, Asefi, means “enough daughters” in Haitian Creole. Perhaps she is the last of many daughters in the family, or maybe her name symbolizes the disappointment her family feels after the birth of yet another girl. Her white blouse and head scarf may represent an impending spiritual journey, whether social (for instance, marriage) or religious. In Christianity, white is often associated with baptism; likewise, in the Vodou religion, worshippers and initiates wear white during ceremonies to demonstrate modesty and purity.

Exhibitions

Haitian Art from the Hughes Collection
Sean Barker, curator
Amanda Martin-Hamon, curator
2007
Corpus - Project Redefine: Phase 2
Kris Ercums, curator
2012–2015
The Object Speaks
Cassandra Mesick Braun, curator
Kate Meyer, curator
Celka Straughn, curator
2016–2021
The Ties that Bind: Haiti, the United States, and the Art of Ulrick Jean-Pierre in Comparative Perspective
Cassandra Mesick Braun, curator
2018–2019
Empowerment
Susan Earle, curator
Celka Straughn, curator
Kristina Walker, curator
Angela Watts, curator
2022–2027
Art Misses You Too
Kate Meyer, curator
2020
Black Lives Matter
Kate Meyer, curator
2020
Art Misses You Too Two
Kate Meyer, curator
2020
Empowerment
Susan Earle, curator
Celka Straughn, curator
Kristina Walker, curator
Angela Watts, curator
2022–2027

Resources

Audio

Audio Tour – Bulldog Podcast
Audio Tour – Bulldog Podcast
Listen to core object information.
Audio Description
Listen to core object information.
Audio Description
The artist is Bernard Sejourne, born 1947, in Port-au-Prince, Haiti, died 1994, Port-au-Prince, Haiti. The title of the work is Asefi (enough daughters), created in 1975, in Haiti. This work is made with paint on hardboard.
Listen to Audio Description
Audio Description
Listen to Audio Description
Audio Description
Asefi (enough daughters) is a three and a half foot square portrait of a dark-skinned Haitian woman who stares out at the viewer without expression. Her eyes are calm and her closed lips are relaxed. She seems to come forward from the gray background, her dark skin and white dress and head scarf creating a strong contrast. The border of the painting is black and arched across the top of the canvas Her dress, made of organdy or tightly pleated fine linen, is translucent. The dress has puffed sleeves and lies across her collarbone, accentuating her long, thin neck. An embroidered band across the top of the dress extends from one sleeve cap to the other. Tiny stitches outline loops that connect in a soft curving line. Her head scarf, also made of translucent linen or voile, is tied tightly across her brow. The cloth flares out to just above the top of her head, making a flat top with two points before it folds over the back. She wears small, simple gold loop earrings.
Listen to Label Text
Audio Description
Listen to Label Text
Audio Description
The arched opening, eloquent geometry, and symmetrical representation of this portrait convey an aesthetic often found in religious works, a connection possibly befitting the young woman portrayed. Her elongated neck and facial features are reminiscent of Senegalese women in West Africa. Her name, Asefi, means “enough daughters” in Haitian Creole. Perhaps she is the last of many daughters in the family, or maybe her name symbolizes the disappointment her family feels after the birth of yet another girl. Her white blouse and head scarf may represent an impending spiritual journey, whether social (for instance, marriage) or religious. In Christianity, white is often associated with baptism; likewise, in the Vodou religion, worshippers and initiates wear white during ceremonies to demonstrate modesty and purity.