The hanging scroll / handscroll like nature of my artwork allows it to easily pass hands, rather than allowing my art to be tied up, or tied down, by the colonial institutions. I want my work to be able to travel, to migrate through our communities and our families. I want my work to experience touch, to be rolled and unrolled, and to carry on the echo of human touch. I want the viewing of my work to be a social interaction, an experience among friends. What has become central to my own theory of decolonial art throughout this process has been to return our art to our communities, and to emphasize art which is both made by and made for our communities. This practice, ideally, would eliminate both the hold of the institution as well as the materialistic view of art ownership and the elitism at the centre of an art world built on colonial-capitalism.