Daisy Gould (@daisymgould) considers facsimile and displacement in a Caribbean context, reviewing the work of Barbadian artist Annalee Davis (@annalee.devere) for the 61st Venice Biennale (@labiennale).

"This is work that demands time, not just to make, but to sit with, and the tenderness of the fabric diverged from the abrupt immediacy of a tourist’s experience (myself included). Our desire to consume and capture the work on phones and film felt contradictory, yet people don’t blink when this happens to the Caribbean landscape." Read more from Gould's feature at the link in bio. — 1. Barbadian artist Annalee Davis on site at the 61st Venice Biennale, pictured with her installation, "Let This Be My Cathedral" (2026), for the 61st Venice Biennale. Image credit: Matteo Losurdo.2. "Bush Bath in the Glasi" (2025), Annalee Davis, embroidery, fabric paint on tea-stained tablecloth, madras fabric, 152 cm (diameter). On loan from Spore Initiative, Berlin. Photo credit: Matteo Losurdo.3. Installation view of "Let This Be My Cathedral" (2026) by Annalee Davis. As seen in "In Minor Keys," curated by Koyo Kouoh, for the 61st International Biennale di Venezia in the Corderie, Arsenale. Photo credit: Matteo Losurdo.