The substrate for these drawings is the plantation ledger page. Countering the conventional daily logging of economic plantation activity, I inscribe other images offering alternative ways of reading the site where I live and work. My attempt to decolonise the ledger by repopulating and complicating these ledgers is a kind of civic negotiation, exposing gaps in Barbados’ plantation history buried in the soil, in the public imaginary and inadequately documented in the archives.

What Davis seems to be invoking in the viewer is a kind of stereoscopic vision that simultaneously sees the skin of things and the bones beneath, the land and what lies below, history and what it hides.

Creole Madonna asserts a current hybrid Caribbean where identity is plural and interior space multi-cultural. The simply defined self cannot ever fully contain who we are - thus the need to evoke a multiple identity. This work opposes a fragmented status and insists that despite racial, ethnic, religious, generational and all other diverse specificities, there is a shared identity - a hybridity, unconsciously "lived" by millions, both in and outside of the region.

Created in the Blue Mountains of Jamaica at a Triangle Trust Workshop, this experimental work became the seed for many years of work that explored notions of home, migratory routes and rootedness. It included a series of drawings on paper with a spinal column sprouting wings, nests, birds flying and houses setting down roots in reference to the Caribbean as a migratory space.