Mutable surfaces; ambient, transitional light; images of the endotic and the anti sublime make manifest a view that is partially compromised in its’ making. 

The photographs, while respectful of their context and cultural codes of conduct, quietly broach the experience of expulsion, partial assimilation and eventual harmony of the body transitioning through space, a collective society and time. They articulate the sometimes temporal fragility of the lives of those who leave, their strategies of learning, acceptance and assimilation - of survival even - in images tempered by their adoption of the mores, sanctions and beliefs of the society in which they were made.

The photographic act serves a twofold purpose in this series - that of the dig of the archaeologist, and that of the reflexive exploration of a collective society dependant on a migrant workforce to assist in the fulfilment of its ambition. Located in the march between the realms of the autocratic and the democratic, they allude to the conservative nature of the society being explored and the methodology employed in making the work. The photographs act as both apertures of seeing and archeological density maps, physical and conceptual ways of articulating being ‘in-between’ - neither fish nor flesh, permanent resident nor naturalised citizen.

In this instance, it’s the immigrant that’s ‘other’, the immigrant is the exotic. The work is coolly observant, almost ambivalent to its surroundings. That ambiguity allows entry to the march, allows the viewer to see both realms through photographs consistently observant of the dichotomy employed in their making.