Since Neanderthals first migrated from the Eastern Hemisphere to the West, the land of Washington Heights has been shaped by waves of foreign communities claiming parts of its history. The Lenape Wecquaesgeek, Jewish WWII survivors, Irish, Puerto Ricans, enslaved Africans, Dutch, British, and Dominicans have all made their mark, calling this ancestral soil home. Reflecting on the diverse cultural waves that have passed through this neighborhood, artist Devin Osorio explores themes of displacement and origin.

Origin stories from Taíno, Wecquaesgeek, Yoruba, Celtic Polytheistic, and Germanic Pagan traditions are interwoven across the canvas with hand-embroidered ribbons. In one scene, from the heavens where Yocahu resides, Locu and Obatala ascend with a cock, sand, and a date palm seed onto the back of a great turtle. The turtle carries an oak tree that nourishes Eiocha, the sea mare and from its bark produces the first humans. The water in which the turtle swims is mixed with the blood of Donn, cursed by his love for Dannu. These waters form a horizon that synergetically represents Donn as the sun, wind, clouds, moon, and the encircling sky.

These creation myths rest above the depiction of an altar dedicated to Inle (Erinle), the Voodoo saint of homosexuals and transgender individuals. The altar set at the base of a lush hill beneath a green sky, is adorned with a blue candle, a cream-colored bondaged candle, and a large hand meant to symbolize the Catholic Mano Poderosa, which crushes the artist’s body. In this portrayal, La Mano is not influenced by apostles, but by the five owners of the building where Devin and their siblings were born and raised. In the hand's grip are a dollar bill and a string of wampum beads, the same type of beads used by the Dutch to exchange for the island of Manhattan.

Through this piece, Osorio delves into themes of displacement, origin, folklore, and cultural hybridity.

Acrylic on canvas and hand embroidered ribbon