White-Passing

In the challenging dilemma between identity and societal expectations, I have encountered moments that demanded the strategic unveiling or concealing of my racial background—a phenomenon often described as 'code-switching.' This nuanced interplay involves adapting one's personality and even identity to navigate various environments.

My series, 'White Passing,' seeks to challenge and deconstruct the confines of this theory. Through the medium of cyanotype on a lamp, I have intricately sewn repetitive photographs, illustrating the transformative effect of light. The images, captured on 35mm film, undergo a unique process involving steeping in chai and bleach, resulting in a haunting, deserted aesthetic. This deliberate treatment serves a dual purpose: to explore the fluidity of appearance under varying conditions of illumination and to symbolize my multifaceted racial heritage.

Each photograph, a testament to the intersectionality of my identity, takes on a distinct character when the light shifts—illuminating the complexity of navigating spaces where racial identity is perceived differently. The cyanotype process, with its inherent duality, becomes a metaphor for the internal negotiation between visibility and invisibility, authenticity, and adaptation.

Included in this series is a photograph sewn with red and exceeded fabric hanging off a chair, intentionally embracing a sense of disarray. This image challenges the societal expectation of being well-groomed, reinforcing the idea that authenticity often comes in raw, unpolished forms.

'White Passing' is not only a visual exploration of the impact of external perception on identity but also a personal narrative woven with threads of complexity and resilience. It invites viewers to reflect on the malleability of identity, the consequences of societal expectations, and the beauty found in embracing the messiness of one's true self.