“Othering” is series of work looking at the effects of migration on the body. Othering presents the dilemma of the transplanted Caribbean person. Through venetian blinds the figure is imprinted with marks of the Other, brands in the form of white light. The marks seem imprisoning of the largest figure in asurreptitious way. Seemingly unaware of this covert exercise, the large figure basks in the light while smaller selves peek from the perimeters and peer out of the darkness.
The series plays with issues of voyeurism and surveillance and the replication of the self through surveillance. The series presents a double narrative, simultaneously presenting in movie montage fashion the multiplicity of self that is fashioned in this process of Othering. The camera, while obviously documenting this process of Othering, seems unable to present a clear image: it is unable to capture the real self. The camera simultaneously is pointed at the audience so that both the other and the Other are under surveillance. I play with the replicated self reflecting on mechanismsof erasure (the blinds) and displacement. The synchronized patterns of light seem to match the synchronized grooved markings on the “Sacred Space figures in the works of Bahamaian master artist Antonius Roberts