Immigration persists as a key issue in cultural, social, economic, and political discourse, where it is usually represented from a non-émigré point of view.
UNHOME challenges this asymmetry by presenting a personal photographic catalogue from an immigrant’s perspective. It establishes a system of negations and explores the state of psychological suspension between the familiar and foreign that often characterises relocation. Drawing on what theorists such as Homi Bhabha have described as unhomeliness, it sets out to represent what is neither here nor there.
UNHOME was executed against a backdrop of advanced capitalism and global inequality. In this framework, movement of the economically empowered is streamlined and branded as expatriation. At the same time, the term migration is loaded with implications of illegality and unwarranted opportunism, and reserved for those who flee poverty or strife in the face of systematic mobility restrictions.