Lali Khalid is an immigrant artist grappling with issues of identity, home, family and diaspora. In her photographs captured over a span of ten years, she illustrates complex challenges exploring new ways of retaining her identity in an environment of changing ideologies and perspectives. Khalid successfully bridges two ends of spectrum: the fading past and the vague future. The images viewed without a predetermined perception explain the evolving narrative through the veiled stories imbedded in them.

"Home. In my heart, beating far away is significant in many ways, including its return of sorts to the photo book. Similar to songs on a CD or album, these photographs can all stand on their own, but when viewed collectively show a narrative progression that yields richer meditations on the intersection of diaspora, acculturation, and motherhood. Like Robert Frank’s use of gesture in The Americans, Khalid uses various forms of cloth—shirts, blankets, dupattas, baby slings, hijabs, sheets, blindfolds, underwear—as transitional objects pulling the viewer from one image to the next."

"Her works bear some resemblance to works featured in The Museum of Modern Art’s groundbreaking 1991 exhibition Pleasures and Terrors of Domestic Comfort, which was one of the first to feature photographers who focused on the home; however, at 30 years old and featuring mostly white photographers, the subject gets a much-needed update from Khalid. Khalid uses the genre of self-portraiture to explore the role of motherhood following along the lines of Diane Arbus, Renee Cox, Catherine Opie, and Annie Wang, among others."

“…Throughout her new book, Home. In my heart, beating far away, artist Lali Khalid weaves her journey of becoming a new mother into her experiences navigating Western culture while seeking to maintain her authentic South Asian heritage and family roots. Imbued with notes of transition, identity and belonging throughout, the work is visually striking in its rendition and profound, if occasionally elusive, in its treatment of these complex themes” - By Susan Van of Whitehot Magazine

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