Maia Ruth Lee borrows her show’s title, ‘Double Vision’, from postcolonial theorist Homi K. Bhabha: the term denotes the perspective of a migrant, who inhabits departure and arrival at once. Primarily raised in Nepal by parents who were Bible translators and linguists, the artist mobilizes memory as material. Her painting B.B. Constellation (2026) begins as a canvas lashed with rope like the trussed luggage of Himalayan labourers; once unfurled, the creases left behind become cosmic maps. Double Vision (2026) is a two-channel video footage shot by her family in Nepal and Korea in the 1990s. The left channel runs slightly longer so the two drift out of sync across the day: memory as something that never quite clarifies, always deferred.
—Qingyuan Deng
