Buttons as eyes

Before I emigrated, my sister and I split our photographic inheritance arbitrarily and irreparably in half. One portion remained with her, and the other was displaced along with me, here in America. For the past decade, this archive of family photographs has been my primary source material in creating bodies of work which explore the migrant narrative and experience; albeit through a personal lens. While buttons as eyes need to decipher and address my family photographs is personal, my work has always touched upon universal themes, buttons as eyes, with the potential to start a dialogue about cultural differences and universal similarities.

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Buttons as eyes

It is a question laced with parental fear. Her concern was not only about my inability to see some trivial object right in front of me, but our collective inability to see well enough to navigate in the world. And with the benefit of hindsight those worries have political dimensions that may be read as implicit in the work. In Buttons for Eyes I explore broader cultural debates around migration and identity, particularly as they have been recast in the dramatically changed context of anti-immigrant rhetoric now amplified at the highest levels of government, and which has altered the context in which migrant voices like mine are heard. Despite these weighty issues, there is playfulness embedded in the very title Buttons for Eyes, suggesting that perhaps seeing clearly calls for looking at the world in more unusual ways. Play occurs in this work in my use of both color and natural light. They are my materials to manipulate; split into sparks, smear into rainbows, and find shimmering back from the depths of powdered pigments. In this series my concern for the past that is lost to me is apparent, but so is my concern for the future and the losses that will come. And although this work mythologizes the past and present it also plays games with them. It winks, pokes and inverts - suggesting joyousness - mixed with the loss and regret that accompanies us all. View fullsize. Eye Muma and Maushi , India Aajooba , Kambli Family Studio Portrait ,

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The buttons symbolize the fact that the other mother sees Coraline as a doll or a plaything—she wants to keep Coraline in her world and do with her what she wishes. The symbol of the buttons, however, also goes the other way. Suddenly Coraline realized how hungry she was. It smelled wonderful. They went into the kitchen.

Buttons as eyes

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Me Turmeric , In Buttons for Eyes I explore broader cultural debates around migration and identity, particularly as they have been recast in the dramatically changed context of anti-immigrant rhetoric now amplified at the highest levels of government, and which has altered the context in which migrant voices like mine are heard. And although this work mythologizes the past and present it also plays games with them. Mami Mami. Soha Bellybutton Turmeric , View fullsize. Guest Check, Kambli Bros, Wedding Background, By ticking here, you agree that we may process your information in accordance with them. Wonderful Community.

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Your cart is empty. You must send the goods back to us to our contact address at your own cost unless we delivered the item to you in error or the item is damaged or defective as soon as possible once you have cancelled the order. Sizes; Mouths Breaux's Studio , Eye, In this series my concern for the past that is lost to me is apparent, but so is my concern for the future and the losses that will come. Muma Pregnant , Create your account. Baba Hair , Kambli Family Studio Portrait , It winks, pokes and inverts - suggesting joyousness - mixed with the loss and regret that accompanies us all. Sona and Me Breaux's Studio , Me Turmeric , Play occurs in this work in my use of both color and natural light.