In the confined space of the Prisoner’s Cell, the multi-media installation A Tiny Prick (2002-4) probes the metaphorical prison of the postcolonial Creole conscience.

In place of the prison cot, a row of pillows with white pillowcases bearing lithographic “portraits” of Creole women (from the Creole Portraits series) are embroidered in white thread with the names of women lost to anonymity on the Caribbean plantation. White female hands in the act of embroidering (in an early nineteenth-century photograph and in a contemporary video) juxtaposed with wall text from Toni Morrison’s Beloved speak to (white) shame and accountability and to the indelible stamp of slavery which remains branded on the postcolonial Creole memory.

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