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During a Thanksgiving gathering in Paris, I encountered Laurence Choko, a captivating French woman. (Most of the other guests were expat Black Americans). We discussed our Caribbean roots—Laurence hails from Martinique, while my heritage is from St. Martin—and I learned that Martinique played a significant role in shaping her interest and engagement in art. We discussed our mutual enthusiasm for Black art, and I discovered that Laurence owns and directs Galerie Intemporel, a private gallery in Paris. She is an art activist with a primary mission to showcase, uplift, and support artists from the African diaspora.
As the dinner gathering ended, Laurence invited several of us for breakfast and a tour of her private home gallery. I am eager to share my experience at Galerie Intemporal. Gate open - Victorine
Seven years ago Laurence was interviewed by Entree to Paris. She spoke of her mission:
"Part of the concept is to get people to see the expression of Black fine art as actually a universal experience. As we know, Black art has always been marginalized. And I knew that to be an activist [in the streets] wouldn’t help, so I had to find a strategy to put together masters from the Western fine art culture alongside Black artists to show that Black fine art is just as significant. When I started in the ’80s, I would put artists from the African diaspora next to big names to get the French audience’s attention because when they saw the Black artists next to other artists, they began to think, "Why have they never been represented?"
True to her concept, Laurence's gallery encompassed every form of Black art. It was expansive yet captivating, and the greenery welcoming us at the entrance made me feel the presence of the Mother in this space. As I surveyed the gallery's vastness and the richness of Black art, I held Laurence's hand for support.
The first piece that greeted me had "òshùmàrè" tattooed on its canvas. To my eyes and soul, the painting depicted a rebellious entity that was illuminated despite the leopard and the bleeding rainbow. Beyond a veil, it recognizes its truth - its spiritual essence as a genderless orisha. Perhaps due to its spiritual connotation and visual impact, this one always answered whenever Laurence asked which piece I favored.
I discovered Haitian art in the 1980s, but my exposure was mainly to paintings and wall sculptures made of wood and metal. Laurence included a variety of Haitian art forms, highlighting their spiritual essence. Art from Africa, the Caribbean, and the Americas was expertly curated, and all inspired my curiosity.
William L. Kennedy was with me on my artventure, and by the time we sat down to our proper French breakfast, we could hardly catch our breath. We were awestruck.
William and I captured photos of each piece in Galerie Intemporel, marking the pinnacle of my Paris experience. Furthermore, I've formed a connection with the woman whose passion fuels this vast collection, leading to a mutual growing friendship.
I inquired if Laurence wished to revise or refresh her quoted mission statement, and she stressed her intention. Instead of presenting a vast array for display, she highlights selected acquisitions from the Diaspora to "foster hope and to support artists with limited resources."
I defer to Entrèe to Black Paris to provide an extensive interview and profile of Laurence Choko. However, I invite you to take my video tour of Galerie Intemporel.
Contact Information for Galerie Intemporel: +33 6 1 8 44 1758, 15 Citè Joly 75011 Paris
-Victorine is the
Founder, Editor-in-Chief
Garden Spices Magazine
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