The embroidery "Ramification II: Identité cicatricielle" (2019) by Béliza Troupé shows the scars of an Afro-diasporic identity, as the title suggests. The artist began this art piece in her native Guadeloupe, then continued to work on it during a stay in Bandjoun (Cameroon) and finished it back at her studio. The tapestry, more than 2 meters long, thus becomes a metaphor for a journey that has shaped the artist like many other people. It depicts the roots of an Atlantic identity that is not simply African, American or European, but has been created over centuries through the brutally enforced trade between these spaces across the "Black Atlantic".

The image of widely spreading branches is reminiscent of Gilles Deleuze and his concept of rhizometric ontology: if everything that exists only becomes and never is, then the history of the Black diaspora has developed in a constant dialog between the various outposts. On closer inspection of Troupé's embroidery, we see red threads winding around the black yarn. They allude to the pain, the scars - and often still open wounds - caused by colonialism over the last 400 years. The work is both a tribute to all these victims and a sublime example of the proud cultural heritage of the Caribbean.