Felisha Maria is an artistic researcher from Trinidad and Tobago who lives and works in Kiel and Paris. In her examination of the recontextualization of cultural commodities in language, literature and history, she uses painting, texts and interactive installations.

Her most recent projects examine tribute, violence and decay in the public spaces where interventions such as memorials, protests and demonstrations occur. In doing so, she explores how various emotions and memories are constructed, archived, forgotten or passed on. Focusing on colonial traces in harbour cities on and near the Baltic Sea, she works with Integrative Geographien at the Europa-Universität in Flensburg, which deals with reparative justice. This research is funded by a Postgraduate project grant from the Muthesius Academy of Fine Art and Design in Kiel. Phases of the project, manifested as digital drawings and animations in public space as well as social media interventions, have been financed by the Flensburg Cultural Office and the Deutscher Künstlerbund e.V. respectively.

Since 2021, with the funding of the BBK Bundesverband, she has been developing the artistic dress project, Parade Créole, based on the impulses of Anna Muthesius’ Das Eigenkleid der Frau (1903) and Frantz Fanon’s Peau noire, masques blancs (1952). This project consists of nine installative objects including books, drawings, embroidery and archived garments, which explore phenomena of research aesthetics. Framed by a modular furniture system, MOKIT, the project has so far been launched in Kiel and Göttingen, Germany.

Since 2017 she has been an Associate Lecturer in Fine Arts at the Muthesius Academy of Fine Art and Design in Kiel, most recently invited by Prof. Habil. Dr. Christiane Kruse to co-lead the Seminar Koloniale und postkoloniale Kunstgeschichte– about Germany’s colonial past and present, in the context of european art history.