Un|Fixed Homeland, Aljira Center for Contemporary Art, 2016 Catalog: Un|Fixed Homeland - Page 66

Karran Sahadeo b. Guyana 1986 The simplicity of the imagery and execution of Karran Sahadeo’s photographs belie the disruption and dislocation they convey. Born in Guyana, Sahadeo’s family left the country when he was four years old. He would spend the next twenty-four years in the Bahamas, United States, and United Kingdom. After earning undergraduate and master’s degrees abroad, Sahadeo returned to Guyana to continue his artistic practice and teach photography at the E. R. Burrowes School of Art in Georgetown. It is these acts of constant transition, of leaving and returning, of rupture and disruption, that inform the series, Untitled, 2014. Sahadeo describes his work as a product of “the tension between what I believed Guyana to be and what I know it is. They are memories of events and places I never truly experienced, centered around my understanding of Guyana as someone who has lived outside its borders for the majority of my life.” In his photographs capturing active scenes of Guyanese life, Sahadeo transforms the everyday into beautiful moving meditations: a boy rides his bicycle on the seawall as an older man, framed from behind a bench, watches on; a fisherman’s boat is battened down for the night, appearing blurry and ghostly; and a man is illuminated from behind as he carries a full tray of clay diyas—Indian oil lamps used for Hindu religious ceremonies. Even with their quiet stillness someone or something is always in transition, coming or going, in these images. Perhaps Sahadeo’s framing of movement is a metaphor for the multiple migrations that have come to characterize the one million citizens in the Guyanese diaspora. In the self-portraiture work Untitled (blue), 2014, the artist is photographed in his bedroom, illuminated by the glow of multiple digital screens that surround him: a tablet rests on his lap, a phone lies under his hand, and a laptop is visible on a dresser drawer. The wealth of technology visible in the frame is juxtaposed by visual codes of an impoverished nation that continues to grapple with a struggling infrastructure—the artist is enclosed securely under a mosquito netting and photographed in the midst of an [XX]HX] [^ܚ[H[X[HۈXH[]X\^HۛXY ZY[[Y[ۈ]HY\\H8'\ۛX[ۈ]Y[^X[H[^\['B\[ZY[•[]Y \HH  K M [\][YY[[ۈ[\\\HوH\\[]Y [ H JK M [\][YY[[ۈ[\\\HوH\\[]Y YJH ^YJK M [\][YY[[ۈ[\\\HوH\\‚