“Under The White Light” suggests the complications of the colonized and diasporic body.
It is a marker of my first time returning to the Philippines since immigrating to Canada exactly a
decade ago. I am exploring the repercussions of memory, familial relationships, and landscape
from immigration through the experience of the ‘return’. It highlights the peculiarity of my
position after adopting Western sensibilities in the way I performed as a voyeur in a place that I considered my own.
Through an intuitive and diaristic manner of
photographing, the print(s) complicate notions of homogeneity through my personal position as
a gay, middle-class, Canadian Citizen. In this exhibition, I would like to take the opportunity to
place equal importance on the means of installation and framing that surrounds the print, by
creating large dark brown wooden frames encasing one of the prints. The reason for this comes
from my interest in the treatment of frames within historical and contemporary photography and
it’s past histories with painting, as well as being inspired by the elegantly modest oak frames
that border iconographic paintings within local Roman Catholic Churches. The frame becomes a
tool that emphasises the work’s autonomy as an art object. I am interested in exploring the self
reflective qualities of the frame as a device that signals notions of the ‘structure’. The frame
parallels past and current tools or dispositifs such as the photograph and the camera, religious
art and the bible, both treated as transcripts that aligned with and promoted colonialist values.