Throughout her oeuvre, artist Suchitra Mattai artistically reimagines and disrupts idealized landscapes. Her migratory path through three countries, Guyana, Canada, and the United States, informs her artistic practice, characterized by what she deems ‘disconnected “landscapes” that are unreal but offer a lingering familiarity.’ In the selection of work featured in her art essay, ‘Revisionist,’ Mattai uses landscapes as both a symbolic device and a canvas to illustrate the liminal space of disorientation when one transitions through multiple cultural spheres. Mattai invokes a migration story started long before she left Guyana—that of her Indian ancestors brought by the British from India to the Caribbean, beginning in the 1830s and throughout the early 1900s, to work as indentured servants on British Guiana’s sugar cane plantations. Mattai’s landscapes, used to explore her relationship to the idea of homelands in transition, teem with texture, materiality, and laborious detail. To make this work, Mattai utilizes a bounty of objects and processes that are hand-done. They are a nod to the Guyanese women in her family who are experts in crocheting, weaving, embroidering, needlepointing, and sewing. With each puncture of embroidery, each woven thread, Mattai centers Indian women and the essential role they have played in three centuries of migration movements in and out of Guyana.