Border Protection (for King & Country)

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Within this work Forbes examines the prevailing narrative on migration and the measures taken to protect national borders, specifically in the context of the United Kingdom, Europe, the Americas, and other predominantly white settler nations. The discourse on migration in these regions is deeply intertwined with the historical legacies of Western nations’ conquest and exploitation of other nations and their peoples, which has resulted in enduring consequences and responsibilities. This historical context has precipitated various forms of migration, including mass and irregular migration. However, the politics of racialised politics has significantly influences how migration narratives are constructed and enforced.

 

The enforcement methods employed to regulate migration from non-European countries are notably severe and include the use of razor wire, the construction of physical barriers such as walls, and extreme measures like drowning, shootings, human trafficking, and death. These methods are emblematic of a broader, racially charged approach to migration control that differentiates sharply between desirable and undesirable migrants based on racialised and ethnic lines.

 

Razor wire, in particular, serves as a potent symbol of this brutal form of border defence. Its seemingly benign appearance belies its vicious nature. Razor wire is designed to inflict severe physical harm, capable of tearing skin and clothing with ease. Once entangled, individuals find it exceedingly difficult to extricate themselves without sustaining significant injuries. This harsh reality of razor wire underscores its function as a tool of deterrence and violence against migrants.

 

Forbes’ work evokes the imagery associated with razor wire in the installation, with the black fabric and wigs interpreted as a metaphor for black body.

 

This metaphor highlights the racialised violence inherent in the use of such deterrents against black and brown migrants. At the same time, the black fabric can also be seen in a more literal sense, as material caught on the wire by the wind or by individuals attempting to cross the border. This dual interpretation underscores the complexity of the migration narrative, where symbolic and real violence intersect. The fabric’s presence on the wire is a tangible testament to the harsh realities faced by migrants, whilst the wigs allude to a female presence and all the challenges, they experience including sexualised violence.

 

Contemporary migration policies in Western nations are deeply rooted in colonial histories and racialised hierarchies. These policies perpetuate a system where whiteness is privileged, and non-white migrants are systematically marginalised and criminalised. The use of razor wire and other extreme enforcement measures is a stark manifestation of this racialised system.