Then, in a subversive act that he refers to as “visual irritation”, he reinterprets the original paintings or photographs and replaces the subjects’ faces with his own black-and-white portrait, looking directly at the viewer. This direct gaze transforms the viewers into active participants and reclaims agency for the figures once rendered as dominated subjects, exposing the power dynamics embedded within the works. His approach, rooted in an act of critical reappropriation, turns the artworks onto themselves to reconsider their legacy in a contemporary context as part of a collective healing process. His canvases, crafted from old bedsheets and infused with elixir baths inspired by voodoo rituals from Benin (where Mivekannin’s family is from), carry profound spiritual and ancestral resonance.

Roméo Mivekannin studied Art History and Architecture and is now pursuing a Doctorate at the École Nationale Supérieure d’Architecture de Montpellier, France. He has been part of exhibitions worldwide at the Collezione Maramotti (2025), Musée du Louvre Lens (2024, 2025), Bozar Center for Fine Arts (2025), Kunstmuseum Basel (2024), Galerie Barbara Thumm (2024), Völklinger Hütte (2024), the Sharjah Biennial (2023), Zeitz Mocaa (2023), Musée du Quai Branly (2023), the Dakar Biennale (2022), among others. His works are in various collections, including Cité de la Musique, Musée National du Quai Branly, Collection Leridon, Sharjah Foundation, Fondation Zeitz, and Galerie Nationale d’art contemporain du Bénin. He lives and works between Toulouse, France, and Cotonou, Benin.