How can the visual and performance practices of the Franco-Gabonese artist Myriam Mihindou be at the origin of a reflection on care? This article answers this question by analysing the video La Robe envolée [The Flying Dress] (2008) and the photographic series Déchoucaj’ (2004–2006). The ‘transperformances’ represented in these works are a means of healing individual and collective wounds through ancestral remedies from traditional religious cultures. The conceptions of care, solidarity and nature that these African beliefs are composed of constitute a healing horizon from which Myriam Mihindou draws to perceive alternatives to contemporary wounds. The works studied thus constitute emancipatory spaces in which bodies free themselves from political and social injunctions. By developing new imaginaries in which hierarchies are abolished, the artist produces what has been called a «decolonial aesthetic of care.» In a context where colonial legacies and legacies of slavery are constantly being revived, this implementation of care becomes a political act with critical and therapeutic potential.