In 2015, after working as individual artists for a decade, we began collaborating officially for our work.  This experience enabled a critical shift in our practice.

Our work examines power and privilege in the United States, and its relationship with image, and appearance.  It is an inter-discursive endeavour which locates itself in the gaps between history and storytelling.  It draws from archival texts, sociological conventions, oral histories, postmodern theory and postcolonial studies, embodying at once the document and the story, the object and its shadow.  

We imagine the medium of installation as a catalyst for dialogue.  Our installations combine video, sculpture, sound, photography, painting and text.  It is important to us that individual components within the installations both complement and contradict one another, drawing the audience into a place where they must contend with the in-betweenness of lived experience; the gaps between truth and fiction.  Through the creation of these layered, hybrid objects and spaces that embody multiple perspectives, we work towards destabilizing linear relations between history, memory and politics.  

We are currently developing work inspired by the lost histories of Bengali sailors who passed as Black in the early twentieth century, settling into communities of color in the wake of anti-Asian immigration laws in the United States.  Making the work through this historical lens provides an essential distance, functioning as a motif through which the audience is engaged with issues of power, privilege and their relationship to appearance, which remain pertinent today.  

Informed by the complexities of our own transcultural reality, our practice remains grounded in the desire to uncover shared histories between self and anOther.  It considers the role of the contemporary diasporic artist in making visible alternate histories and disrupting binary driven distinctions between societal norms and stereotypical expectations.
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