I began to remember how I had imagined home as a child. It was like the abandoned bus that got converted to a classroom in Totto-Chan: The Little Girl at the Window. It was also like the sneaky settlement in the Metropolitan Museum of Art from From the Mixed-Up Files of Mrs. Basil E. Frankweiler. I wonder whether this childhood fantasy had projected my drifting future. Or it was just an early indication of my very nomadic nature, indulging in the subversion and suturing within the ceaseless wander. In here this vision continues to thrive…
What does it mean to us to evolve in a space we don’t live? The light of the green grass spreads evenly through the attic window on the soft skin of the mysterious monster. Monochromic grains spread through the clear white walls, making a silent demonstration. Commemorative objects displayed in the palm of the hands, unfolding stories of layered displacement. The shelter in memory gradually takes form out of the patched gatherings. Traces of the past are reclaimed as possessions for constructing the very myths of our own. Care and strength finely juxtaposed into the polished silhouette. The chill spreads from the soles of our feet until it is held off by the fine plush of the old carpet; nothing can stop the gradual overflow of the intimated longing. It is a housewarming gift meant to be shared.
(Homing, Or) Adverse Possession gathers eleven London-based artists with Asian heritage to engage in the complex discourse of home and diaspora. Objects and images that speak of delicate experience occupy the unfurnished rooms of this end-of-terrace British house, transforming a residential space into a place of emergence. From lineage to migration, shattering to reconnection, this intimate exhibition is a meeting point where nomads bond through friendship, shifting the possession of the land we afoot, a very act of homing.
