Felisha Maria is a Trinidadian artist who lives and works in Kiel and Paris. Her artistic research is concerned with the re-contextualisation of cultural commodities in the german-french linguistic, literary and historical Contact Zones. Her practise involves painting, embroidery and performative installations.

Having exhibited and worked in Germany, Poland, China and Trinidad and Tobago, she has also completed research internships at l’Université Paris VIII and 14°N61°W in Martinique. In 2019 she interpreted George Simenon’s Les Anneaux de Bicêtre and continues exploring intersectionality in the legacy of Benoîte Groult.

info@felishamaria.com

CURRENTLY REVELLING IN: Recommended to me by a fellow Trini Bison who had been living in London for years. A revelation, addressing questions that had only snuck up on me after years of fighting it down in northern Germany.
Chances are, if you’ve met me I’ve handed this book to you.
Letztes Jahr gelesen, war mega.
The book that made me realise that my future as a researcher would never be restricted to one culture, one language, or one historical narrative.
Pratt is humorous and clear-eyed. Her work not only informed my MFA Thesis, it helped me find my writer’s voice. Pratt is a safe space for knowledge.
This helped me understand that I will not soon, or possibly ever, overstand my Trinidadianness.
Comfort reading. And my copy is signed and calls me an enchantress, so. #somethingstupidlike
The hardest, most necessary thing I’ve ever subjected myself to. At the beginning of the pandemic, no less. So glad I had my friends at home and my aunt to help me address some of the ghosts that this book reawakened. Similar things are coming out in the countries in which I live and work, and I’m glad of that but it remains a topic that keeps me feeling powerless.
I haven’t fully finished this book, because I’m afraid of the power that it will give me, or that I might mistakenly feel that I can control. The French art of bluffing, generalising, backtracking and out-and-out lying is taught here is mildest (most harmless?) form, but it is a masculine art, it is a Eurocentric art, and the master’s tools will not destroy his house, so why should I try to use them at all? It is, however, a heady cheatsheet to getting through to other works, so I probably will return to it.
It is a CRYING SHAME that this book isn’t available digitally. I literally cannot reread it because it’s so raw and painful. From Amazon:

“Set in the Eastern Caribbean at the beginning of the twentieth century, No Pain Like this Body describes the perilous existence of a poor rice-growing family during the August rainy season. Their struggles to cope with illness, a drunken and unpredictable father, and the violence of the elements end in unbearable loss.
Through vivid, vertiginous prose, and with brilliant economy and originality, Ladoo creates a fearful world of violation and grief, in the face of which even the most despairing efforts to endure stand out as acts of courage.”