Zak Ové, a prominent British-Trinidadian artist, bridges African, Caribbean, and Western cultural motifs to interrogate the legacies of colonialism and celebrate diasporic identities. His multidisciplinary approach—spanning sculpture, film, and installation—reclaims ancestral memory and situates Black identity at the nexus of contemporary global art. This article critically examines Ové’s artistic philosophy, key works, and his negotiation of diasporic belonging through a lens of decolonial aesthetics and cultural memory. Particular attention is given to his seminal installations The Invisible Man and the Masque of Blackness (2016) and Moko Jumbies (2015), as well as his engagement with Carnival traditions as vehicles for reclaiming agency and crafting diasporic futures.