Having a hybrid identity like so many from the West Indian diaspora, I have lived in several countries long enough to feel like something of a stranger in all of them; my experience is characterized by “cultural holes” in all the places I have ever called home. Just as I am neither one thing nor another, I have come to accept that in a field where the dichotomy between function and sculpture is generally assumed, I do not align myself completely with one or the other. My work fluctuates between the invitingly functional, the precariously functional and the decidedly non-functional, using hand building, slip-casting and occasionally throwing, individually and in combination. The forms are explorations of real objects that I find compelling, or evolve from ideas and doodles in my sketchbook. The subject matter of my heavily drawn and/or painted surfaces has content ranging from the provocative to the truly mundane. It includes observations, anxieties, comments and jokes from the multiple perspectives of a Caribbean immigrant in New York, a New Yorker in America, a teacher and most recently, the older parent of a young child. Sometimes the pieces in turn are further accompanied by additional external writings or drawings. Both extend the investigation of the intertwined roles of imagination and memory in establishing identity. The work becomes part of a grounding process, a house that I carry with me, turtle-like, from place to place, as a means of connection to other people and cultures, and of self-preservation within the same.