Ghosting
Ghosting (2004) reflects the traces and interconnections between Caribbean culture, Britain, and elsewhere through a multimedia artwork and photographic prints of spoken word and landscape in movement.
Ghosting provokes something between a partial presence and absence, a creolised evocation, or a half-truth presumed to have occurred from what we know existed. Our memory and imagination is familiar with the informal remarks and commentary, the creole voices, landscapes, and family photographs. Each fragment or snippet is triggered by your willingness to move a stone from one ‘home’ to another in the board – to empty out and place the stone somewhere else. It becomes something like a game playing device for a single player, or rather the stones or objects in Ghosting become traces - ‘whose meanings emerge from a scape, social, literary, imaginary, musical, techno, and landscape.' (Vergès, 2006, p.57)[1]
[1] Vergès, F. & Marimoutou C. (2006) ‘MCUR: Project for a Museum of the present.’ La Maison des Civilisations et de l’Unité Réunionnaise (pp. 1 - 197).
Installation shots of Ghosting photographic prints at Fotofest 2018 Biennial, India Contemporary Photographic and New Media Art (March - April 2018), curated by Sunil Gupta and Steven Evans.
see: http://2018biennial.fotofest.org/
and installation shots of Ghosting single screen interactive artwork in Liminal: A Question of Position, inIVA, Rivington Place, London (March - April 2009) - see: https://iniva.org/programme/projects/liminal-a-question-of-position/
