Ceramicist Morel Doucet sits in a black office chair and stretches high with charcoal in his hands, pressing it into his artwork taped to a white wall.
As he removes his blue gloves that are now black, the 27 year old stands up and cleans his hands while he stares at the carbon drawing called “Cane Sugar, A Ghetto Garden.” The artwork portrays a Black man with an afro and bushy eyebrows surrounded by affixed leaves gathered from Liberty Square.
The piece is part of a large group of his current artwork called “New Kin, Black Kin,” where Doucet says he’s “examining what kin means to his identity.”
