Publications
Books
Reviews
‘A meditation on the fraught, fragile, and complicated love for place, ‘Liminal Spaces’ is ultimately an act of resistance. The fifteen women refuse to give in to the label of ‘disappearing’. Their words and art demand that they be seen.’ —Wasafiri Journal
Liminal Spaces: Migration and Women of the Guyanese Diaspora (Open Book, Cambridge, 2020) explores the art and migration narratives of fifteen women of Guyanese heritage. It spans diverse inter-generational perspectives—from those who leave Guyana, and those who are left—and seven seminal decades of Guyana’s history—from the 1950s to the present day—bringing the voices of women to the fore. The volume is a visual exhibition on the page; a four-part journey navigating the contributors’ essays and artworks, allowing the reader to trace the migration path of Guyanese women from their moment of departure, to their arrival on diasporic soils, to their reunion with Guyana. Eloquent and visually stunning, Liminal Spaces unpacks the global realities of migration, challenging and disrupting dominant narratives associated with Guyana, its colonial past, and its post-colonial present as a ‘disappearing nation.’ Multimodal in approach, the volume combines memoir, creative non-fiction, poetry, photography, art and curatorial essays to collectively examine the mutable notion of ‘homeland,’ and grapple with ideas of place and accountability.
‘Conceived as a visual exhibition on the page, ‘Liminal Spaces’ brings incredibly timely insights on the Guyanese diaspora to the fore. Through artworks, it is able to cover more ground than a classic scholarly analysis would be able to, while making it accessible to different audiences. As one of the only contributions of its kind, its importance cannot be overstressed.’ —GRIOT
International Exhibitions
[Forthcoming] 61st International Art Exhibition of La Biennale di Venezia: In Minor Keys, 2026.
Prospect 6: The Future Is Present, The Harbinger Is Home, New Orleans, 2025.
Sharjah Biennial 14: Leaving the Echo Chamber, March Meeting Papers, Sharjah, 2021.
[Forthcoming] Aïda Muluneh: This Bloom I Borrow, Efie Gallery, Dubai 2026.
“Donald Locke in Atlanta: Nexus, New Beginnings, New Worlds,” in Donald Locke: Resistant Forms, UK, 2025.
What Is a Flower, If Not a Witness to Revolution? Efie Gallery Dubai, 2025.
Exhibition Catalogues
[Forthcoming] Woven Wind, National Museum of African American Music, Nashville, 2026
“Curatorial Notes on Postpartum Aesthetics,” Compound Long Beach, 2025.
Amazonia Açu, Americas Society, New York, 2025.
Deborah Jack: Beginnings, Deborah Jack: 20 Years, Pen and Brush, 2022.
Suchitra Mattai’s Unravelings, Suchitra Mattai: Herself as Another, Hollis Taggart, 2022.
Book Chapters
The Ones Who Leave and the Ones Who Are Left, Women and Migration: Responses in Art and Art History, Open Book Publishers, 2019.
The Motherland Between Us, Black Matrilineage, Photography, and Representation, Leuven University Press, 2022.
Essays & Journal Articles
“Family Matters: A Closer Look at Frank Bowling’s Middle Passage Paintings,” British Art Studies, 2025.
Embodiments of Indenture, Journal of Indentureship and Its Legacies, 2024.
Centering Guyanese Women’s Art Migration Narratives, AWARE, 2024.
Artistic Responses to Crossing the Kālā Pānī, Arts, 2023.
Guyana’s Amerindian Women, The Scholar and Feminist Online, 2023.
Frank Bowling: The Mother’s House Paintings, Forum, 2023.
Women, Art & Activism in Guyana, Women, Gender, and Families of Color, University of Illinois Press, Spring, 2021.
Un|Fixed Homeland: Exploring the Guyanese Experience of Migration, Transition Magazine, Harvard University, Fall, 2016.
The Jhandi Flag in Contemporary Guyanese Art, Asian Diasporic Visual Cultures and the Americas, Spring, 2019.
Unfixed Homeland: Artists Imagining the Lives of Women of Windrush, Wasafiri, Summer, 2018.
A Return to Roots, Nueva Luz Photographic Journal, Summer, 2012.
A Guyana Worldview, Nueva Luz Photographic Journal, Fall, 2013.
Beautiful Ambiguities, Gender and the Caribbean Body, Small Axe Salon 18, February 2015.