The title of the artwork is cited from several sources: i. U.S. FILM MAKERS LURED BY JAMAICAN INCENTIVES, The New York Times (1984); ii. No Telephone to Heaven, Michelle Cliff (1987); iii. “and you can drink the water”: Caribbean Landscape in Cliff and Marshall, Fodor’s and Frommer’s, Elizabeth Davis (2002). By printing, fragmenting, redrawing the phrase, language becomes a landscape itself: a terrain of authority, assumption and subtle violence, where the roots of words, the turn of phrase, carry histories, power and memory. The work asks who is permitted—and who presumed—to inhabit the land these lines imagine.

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