SECOND PASSAGE | Cara Nahaul

Frestonian Gallery is delighted to present _Second Passage_, our second solo exhibition by London-based artist Cara Nahaul (b. 1987). Bringing together over a dozen new works, Nahaul returns to the Mauritian landscape to build on previously explored themes of memory, migration, and questions of Empire. Nahaul has often drawn from her childhood visits to Mauritius, where her father originates from, and the long summers set against the tropical backdrop of the island. In _Second Passage_, Nahaul brings a new perspective to these themes following the birth of her first child, tracing her own memories while building new ones for the next generation. A complexity unfolds through the lens of parenthood and the passing of time, asking questions of cultural legacy and connection across a growing familial history. Personal and colonial histories converge amongst the coastal village and roadside scenes, peppered with transitory glimpses of life that drift in and out of view, like the stray dogs that wander the island. The fleeting feel of these recalled landscape raises the question of how one sustains a tether to ancestral roots and cultural identity, and how this might manifest with the introduction of yet another generation. The distance between the geographies invokes the reality of migration and the intricate identities that are woven across families as they nurture roots across continents. An ephemerality resides in the paintings, a reflection on the fragility of memory and the contradictory nature of attempting to hold onto such intangibility. The works begin to emulate a film roll, expressing the journeys of the artist and her family as they navigate both the past and the present. Within the historical context of Mauritius, the theme of memory inherently considers the way in which the landscapes have borne witness to the island's history of indentured labour and imperial oppression, and as a place of colonial trade. With regards to the undercurrent of the post-colonial narrative that Nahaul examines, artists such as Hurvin Anderson come to the forefront with his nuanced approach to the post-colonial environment. Nahaul also cites Helen Frankenthaler's expansive, stained canvases and the quiet minimalism of Lois Dodd as key influences on the works. The imagery itself combines both passages of intricately painted detail, and areas of the picture plane that are far more loosely rendered. This balanced duality evokes the nature of memory itself, as sharp moments of detail become heightened accents in mutable and drifting half-remembered, and half-imagined, landscapes