Roshini Kempadoo: Virtual Exiles

Roshini Kempadoo’s digital images and Internet site ‘Virtual Exiles,’ explores the experiences of individuals who have left their country of origin and who are now at ‘home’ in another. The reason and experience of having left a homeland always varies, but what doesn’t is the relation to the host country – those having migrated are nearly always considered to be an ‘outsiders’ or ‘foreigners’. The work was created by Kempadoo while investigating her own status as refugee/exile/expatriate/emigre in relation to her own country of birth England and her country of origin and upbringing, Guyana.

The interactive website was an ongoing curated internet show where individuals and groups are encouraged to contribute their own artwork. Whether it is a sound, video or a multimedia piece or a series of images or text, the person is invited to contribute their own experience of being ‘settled’ and ‘rooted’ within one culture and yet having a deep sense of belonging with another. Such contributions alongside Kempadoo’s own work are then contextualised and presented as four separate portfolios, each of which focuses on particular aspects of the ‘exiled’ experience.

Looking at Kempadoo’s work gives me a good insight into how themes surrounding belonging, rootedness and identity can be represented using new media technology. I particularly like the participatory aspect, and ideas of space and place. I think notions of space are particularly important when speaking about globalisation and virtual space.

Kempadoo’s work also makes me think about the end presentation of the work, whether it should be presented as an art piece? The project could take on a research form in this respect, aggregating different sources and displayed to an audience as an exhibition.

The above article contains information on Roshini Kempadoo and also the ‘Virtual Exiles’ project. I have selected a few extracts from the website that seem useful for my research at the moment:

‘Her work is very significant because it highlights the cultural mix of the Caribbean often lost in translation to the UK. Her work is trying to restore the complexities of Caribbean history through sometimes an autobiographical investigation. What is very provocative about her work is that it offers us a complex set of relationships that we as audience not only enjoy unpicking because it is full of diffuse humour but also because it recognises complex relationships between the present and the colonial period of British expansion’.

Sunil Gupta, OVA London 2004

I really want to explore these complexities in my work in relation to racial identity. I should note the complexities in translating these experiences, and question which method will best allow this discussion to be understood. Regarding this then, the audience play a crucial part in the work. I also like the autobiographical element, which is something I want to do in exploring my own identity. Perhaps I could do this in relation to other people.

Conceived as an ever-changing work-in-progress ‘Virtual Exiles’ begins with the narratives of people whose origins are in Guyana.

The aspect of the work forever changing is quite crucial, and links into my ideas of racial identity being changeable and all the more complicated due to this.

Matt Locke writes, ‘Roshini Kampadoo’s ‘Virtual Exiles’ is an ambitious attempt to create a forum for a number of issues that have been central to her work – identity as refracted through labels such as refugee, exile, expatriate and emigre; photography as taxonomic tool or emotional record; and the infrastructures of commerce, colonisation and globalization that replicate themselves in the technologies used to construct her work.

I definitely think in some ways, I am trying to create a forum around my work, in that my aims are for such issues to be discussed, challenged and experimented.

An accompanying website ( was presented by Kempadoo as ‘a collective way of telling stories, of digitally contributing our own version of what it means to step between two spaces at once’. Locke comments that ‘the possibilities for embedding many narratives within the non-linear space of a website makes it, perhaps, a more apt location for the project than a gallery exhibition. The web is regarded as a space where notions of identity can be infinitely mutable, and where community is the only organisational factor, themes which are central to ‘Virtual Exiles’. …

Again, the notion of collectiveness and participation seems central to producing work of this style. I feel that the work is stronger also in that it has a collective story and not simply the experiences of one person alone. You then begin to find recurring themes in experiences, as well as identifying differences also. I also like the notion of existing in two spaces at once, and see parallels here with existing both online and offline, and the way the two interact.

The work does not attempt to recreate a taxonomic archive but to present narrative spaces that reveal themselves through a series of breaks and ruptures – rollover images, scrolling shockwave texts and hidden links that require more persistence than the usual navigation tools.

I also need to think further about the form of the work, what type of experience do I want to create for the audience and why?


‘How We Are Now’

How We Are: Photographing Britain
Tate Britain: Exhibition
22 May 2007 – 2 September 2007

This is the first major exhibition of photography ever to be held at Tate Britain. It takes a unique look at the journey of British photography, from the pioneers of the early medium to today’s photographers who use new technology to make and display their imagery.

The images in this exhibition have come from the length and breadth of the UK, and include well-known oeuvres alongside mesmerising lost masterpieces. As well as famous names – William Henry Fox Talbot, Lewis Carroll, Julia Margaret Cameron, Bill Brandt, Madame Yevonde, Susan Lipper, David Bailey and Tom Hunter among them – the exhibition includes postcards, family albums, medical photographs, propaganda and social documents. It includes work by many women photographers and photographers from different cultural backgrounds who are usually underplayed in the history of British photography.

Ultimately, this is a treasure trove for any one who loves photography, and presents the extraordinary variety, breadth and idiosyncratic nature of one-and-a-half centuries of image making.

For the first time, Tate Britain invited members of the public to contribute to the content of an exhibition. How We Are Now invites you to add your photograph to the exhibition through the community and photo-sharing website Flickr.

I’m quite interested in this idea of crowd sourcing, and especially how it could help create a broader and more representative documentation of society. Applying my ideas surrounding racial identity, I should consider that identity formation forms in relation to other people in society. A race related project shouldn’t then necessarily be all about me, as racial identity is a much about other people as it is about me.

It’s also interesting to see the range of perspectives, and questions how many pictures and points and views are needed to reflect reality (if it is even fully possible at all). The use of Flickr as a tool to enable this social interaction helps to aggregate a range of views expressed in the photos. I should consider what type form of social media would help the ideas in project, as I think this participatory factor is crucial in contemporary media experience.