This work is an attempt to circumvent the position of the spectator observing the tragic lives of others from a safe and mediated distance. Instead, I have decided to explore my own migrant story in order to identify points of connection among all the complex differences of political context, history and journey, and to disturb the notion of the migrant as Other. Using personal images of my own first home in Ibadan, Nigeria, in 1980, as ‘place-holders’, I intend the work to perform an act of remembrance for all the personal belongings, homes, lives, and identities left behind by all migrants everywhere, for which there are often no documents. Reproducing the original photographic slides as drawings allowed me to create fictionalized documents in which I have removed all the people from the places, including myself, eliminating by extension the divisive dualities that are constructed around bodies: black / white, native /settler, immigrant /emigrant, and leaving only the place, the home, the before. At the same time, through this intervention, I am also permeating the images of my past with an imminent threat of future rupture, leaving them with a sense of suspended absence, thus foregrounding the precariousness, instability and impermanence of all that remains. In these ways, I aim to take the safe dualities: me /them, me /you, home / exile, stability / movement, settling / migration, and to make them fall apart.