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This project draws on the Index of DH Conferences compiled by Scott Weingart, Matthew Lincoln, and Nickoal Eichmann-Kalwara that covers approximately 60 years of DH conferences, 7300 presentations, 8650 different authors, 1850 institutions, and 8 countries (Lincoln et al., 2021). The objective was to assess how the burden of conference travel— represented by a measure of distance traversed—differs based on race, gender, work type (keynote, paper, workshop, and poster), and previous authorship.

This dossier consists of three chapters. Chapter one is an extended artist statement within which I discuss a very particular notion of identity that acknowledges its fluidity and ever-shifting qualities. Further in this chapter, I address my studio practice processes and its overall development, as well as making a detailed comparison with Roni Horn’s drawings and also Mona Hatoum’s artwork. Chapter two is a documentation of selected works that I have made in the studio during my two-year candidacy at Western University. Each work is accompanied by a brief description. Chapter three is a case study on Shirin Neshat’s photography project, Women of Allah. In this chapter I analyze why her work has been misunderstood, citing two main reasons: the title of the work and the stereotypes around the Chador. The first creates ambiguity because of the use of the word Allah, and the second is based on inaccurate assumption about Muslim women.