Reviews
"Home. In my heart, beating far away is significant in many ways, including its return of sorts to the photo book. Similar to songs on a CD or album, these photographs can all stand on their own, but when viewed collectively show a narrative progression that yields richer meditations on the intersection of diaspora, acculturation, and motherhood. Like Robert Frank's use of gesture in The Americans, Khalid uses various forms of cloth--shirts, blankets, dupattas, baby slings, hijabs, sheets, blindfolds, underwear--as transitional objects pulling the viewer from one image to the next." - Dr. Susan Van Scoy Associate Professor of Art History at St. Joseph's College for Whitehot Magazine "Her works bear some resemblance to works featured in The Museum of Modern Art's groundbreaking 1991 exhibition Pleasures and Terrors of Domestic Comfort, which was one of the first to feature photographers who focused on the home; however, at 30 years old and featuring mostly white photographers, the subject gets a much-needed update from Khalid. Khalid uses the genre of self-portraiture to explore the role of motherhood following along the lines of Diane Arbus, Renee Cox, Catherine Opie, and Annie Wang, among others." - Dr. Susan Van Scoy Associate Professor of Art History at St. Joseph's College for Whitehot Magazine, "Home. In my heart, beating far away is significant in many ways, including its return of sorts to the photo book. Similar to songs on a CD or album, these photographs can all stand on their own, but when viewed collectively show a narrative progression that yields richer meditations on the intersection of diaspora, acculturation, and motherhood. Like Robert Frank's use of gesture in The Americans, Khalid uses various forms of cloth--shirts, blankets, dupattas, baby slings, hijabs, sheets, blindfolds, underwear--as transitional objects pulling the viewer from one image to the next." > "Her works bear some resemblance to works featured in The Museum of Modern Art's groundbreaking 1991 exhibition Pleasures and Terrors of Domestic Comfort, which was one of the first to feature photographers who focused on the home; however, at 30 years old and featuring mostly white photographers, the subject gets a much-needed update from Khalid. Khalid uses the genre of self-portraiture to explore the role of motherhood following along the lines of Diane Arbus, Renee Cox, Catherine Opie, and Annie Wang, among others.", "Home. In my heart, beating far away is significant in many ways, including its return of sorts to the photo book. Similar to songs on a CD or album, these photographs can all stand on their own, but when viewed collectively show a narrative progression that yields richer meditations on the intersection of diaspora, acculturation, and motherhood. Like Robert Frank's use of gesture in The Americans, Khalid uses various forms of cloth--shirts, blankets, dupattas, baby slings, hijabs, sheets, blindfolds, underwear--as transitional objects pulling the viewer from one image to the next." "Her works bear some resemblance to works featured in The Museum of Modern Art's groundbreaking 1991 exhibition Pleasures and Terrors of Domestic Comfort, which was one of the first to feature photographers who focused on the home; however, at 30 years old and featuring mostly white photographers, the subject gets a much-needed update from Khalid. Khalid uses the genre of self-portraiture to explore the role of motherhood following along the lines of Diane Arbus, Renee Cox, Catherine Opie, and Annie Wang, among others."
Synopsis
Home. In My Heart, Beating So Far away examines Lali's exploration as an immigrant, grappling with issues of identity, home, family and diaspora. In her photographs taken over a span of ten years, she illustrates complex challenges where she is continually shifting, trying to find out new ways of retaining her identity in an environment of changing ideologies and perspectives. She tries to bridge two ends of spectrum, the fading past and the vague future. The images do appear simple and direct, but if viewed without a predetermined perception, explain the evolving narrative through the veiled stories imbedded in them., Lali Khalid is an immigrant artist grappling with issues of identity, home, family and diaspora. In her photographs captured over a span of ten years, she illustrates complex challenges exploring new ways of retaining her identity in an environment of changing ideologies and perspectives. Khalid successfully bridges two ends of spectrum: the fading past and the vague future. The images viewed without a predetermined perception explain the evolving narrative through the veiled stories imbedded in them., Lali Khalid has used her lens to reveal the conflicts an immigrant faces in new cultural milieus, away from home and family.
