I Was Here (2017), is a play on the souvenir postcard motif. It combines photos collected during field research in Laventille between June and August of 2016 to visually discuss the physical positioning of Laventille in the prime hilly terrain of the Northern Range overlooking the central business district of the capital city, contrasting with its social positioning within the nation as a dangerous warzone that should not be traversed. At the same time I Was Here is meant to capture the ways the community politically, economically and culturally fuels the nation. The collage is paired with the words of Reginald, a man in his 70s who decided to move from his home in West Moorings (one of the wealthiest suburban areas in Trinidad) to rent a house in Morvant/Laventille for a few months.

Fire Bun! But Bring Water (2017), is a discussion of policing within the area of Laventille. It is meant to capture the simultaneity of police neglect, hyper-securitization, and robust community policing efforts existing in the region. It is paired with the words of Mr. Johnson, a resident of Morvant/Laventille for over 50 years.

Today, Yes Today, We Will Fly (2018), draws on the iconic signage style of advertisements for dancehall parties and fêtes to engage in a discussion of “freedom”. The collage features photographs collected at St. Barb’s Basketball court and at a sports festival aimed at combatting gang warfare that was held in Laventille during July 2016. It is paired with the words of Vincent who was born and raised in Laventille (however he later moved away), as he gives me a walking tour of part of the area and introduces me to the statue of Adende. Today, Yes Today, We Will Fly references multiple historical revolutionary attempts at liberation (defined differently at different moments) from slavery, colonialism, imperialism, and racial capitalism. But it puts these various large-scale political movements in conversation with the quotidian ways people free up and make joy—make sound—make life—even amongst silencing.