Working as a full-time graphic designer and illustrator for the Intercontinental Slavery Museum wasn’t just a job — it was a privilege. But privilege and pressure are often two sides of the same coin.

The brief came with a weight attached: design the complete visual language for the museum’s first major exhibition. Two months. Three languages — Kreol, French, English — all reading with equal clarity across every panel, every caption, every wall. Historians, curators, scenographers, museum staff — everyone had a stake in getting it right, because getting it right meant honouring a history that couldn’t be fumbled.

The timeline was relentless. Sleep became something you negotiated with. But that pressure, that constant hum of “we have to get this right,” it kept clarity at the centre of every decision. Every typeface choice, every image sequence, every use of white space — it all had to serve the content with the restraint the subject demands.

When the Prime Minister opened the doors in September 2023, something shifted. The work stopped being a deadline and became a space. A place where visitors could stand in front of the Eugène de Froberville busts, face to face with 53 to 63 plaster casts made in 1846, and feel the weight of what they were looking at. The exhibition did what it was built to do: transmit.

Below are photographs from the opening — the room full, the work visible, the history being witnessed.