At the intersection of conceptual, staged and documentary image-making, Hoda Afshar’s artistic practice explores the representation of gender, marginality and displacement. Initially drawn to the potential of the documentary image to unearth hidden realities, she is equally committed to critiquing the collusion between the photographic medium and hierarchies of power. Informed by her own experience with migration and cultural displacement, Afshar’s work takes the intrusiveness of the camera as a point of departure to unpack the relationship among truth, power and the image while disrupting traditional image-making conventions. Her 2018 video installation, Remain, is exemplary of Afshar’s practice in the way it blends her strong political views with a poetic vision. In it, she addresses Australia’s contentious border protection policy and the human rights of asylum seekers. Afshar travelled to Manus Island in Papua New Guinea and followed a group of stateless men who remained on the island following the closure of the infamous immigration detention centre on the island in October 2017.