Lili Bernard is exposing the post-colonial archetype of suffering and flexibility.

She juxtaposes
cruelty and compassion, ugliness and beauty. The generational clash of her Afro-Indigenous
Caribbean ancestors inspires her work. Bernard re-imagines art history born of colonialism, with
racially diverse subjects. She shows the diasporic stain of racism and of the unconquerable nature of
the human spirit.

Carlota Leading the People, Oil on Canvas, 72”x60 (after Eugene Delacroix’s Liberty Leading the
People, 1830)
Contextualize: Delacroix’s Liberty Leading the People, during the French Revolution of 1830,
becomes Carlota Leading the People, during the Cuban Slave Revolt of 1843. Carlota, an enslaved
Yoruba woman, lead the rebellion in Matanzas, Cuba, along with her cohorts, Fermina and Evaristo.
Upon her capture, Carlota was dragged and quartered to death. “– MAT GLEASON, Coagula Art
Journal

Historical context takes place in Liberalisation of the Carribean - European Colonialism in 1492
 LIBERATION STRUGGLES IN THE LOW LANDS OF LA HABANA and
MATANZAS
Take active role in challenging unequal power relations. Interrogate and rewrite the historical
narratives embedded by imperial powers

Matanzas was the scene of many confrontations between enslaved Africans and the slave - system
regime in Cuba during 1843 and 1844. The uprising at the sugar - estate Triumvirato under the
leadership of Carlota had a great impact both inside and outside of the island.

By means of 'talking drums' the rebels were called for battle. When hearing the sounds of the drums,
the slave-owners most likely thought that the Africans were paying tribute to their ancestors in
sessions held in and around their barracoons.
(Drums present in the painting

Their task was to encourage the enslaved people to rise up and put an end to the hated system of
human exploitation. As indicated by the outstretch arm, calling

Principal means of communication were the drums as their most relevant heritage from Africa, thus
the term ‘talking drums’

On November 5 of 1843, the enslaved people of Triumvirato broke out in a great rebellion.

Social availability (sexual as well) of women, finding models easily

Undressed，very much opposite to the fantasy created by Gauguin
Projection of primitive imagination/ fantasies are quickly dismembered by the machete carried by
the subject,

Can be seen as a rejection of European values

Lili Bernard herself calls this artwork as

The climate and landscape of the city deeply informs Bernard’s action-packed paintings—scenes that
often reimagine canonical paintings from European art history with racially diverse subjects and
frenetic colors. A recurring motif in her work is the Ceiba tree. “In Cuba, as well as in parts of Africa,
Asia, and other parts of Latin America, the Ceiba tree is considered to be a sacred tree,” she said.
“Since my artwork is heavily codified with Afro-Cuban religious iconography and folklore, I infuse
my paintings, sculptures, photography and video art with images of the Ceiba tree and her flowers.”
Because of L.A.’s sunny, warm, stable climate, ceiba trees thrive in the area, even during droughts,
because their roots are deep enough to reach subterranean waters.