Abstract

Following the protocol set out by Fetaui Iosefo (2019, this issue), I sought Belinda’s permission to write an ekphrastic poetic response to her art assemblages since, as Iosefo frames it, “if there was no ethical consent and processing … we would be no different from the colonizers” – just one more shell in my bucket. Like Fetaui, I too am responding to more than just the visuals. The essence of Belinda’s work calls me to the past and allows me to come to a different and broader understanding of my childhood experience, while also
functioning as a creative trigger – hallmarks of ekphrastic poetry (Faulkner, 2009). It is only after I received Belinda’s enthusiastic response that I submitted this poetic response.