Frantz Patrick Henry and I met in the Spring of 2019. I co-curated the exhibition "Over My Black Body" at Galerie de l’UQAM with my friend Anaïs Castro. Stanley Février, one of the artists in the show, had a team of assistants supporting him, of which Patrick Henry was a part. I had to engage in numerous back-and-forth discussions at the gallery regarding exhibition design, setup, lighting, and the artists’ well-being. His attention to detail and calm demeanour were more than welcome as the opening date was approaching. I followed his career since, noticing every time that there was something distinctly Haitian about his work: his use of found objects, the blending of many life forms, his use of metal and stone, and the painterly composition of his installations reminded me of the artists I have studied and have encountered in my relatives’ homes. Still, Frantz’s practice strikes me as one that is rooted in thoughts and gestures that stem from meticulous research on a vast set of interests and affects that always situate his work in a Global context.