Reimagining Filipina Visibility through “Black Mirror”: The Queer Decolonial Diasporic Aesthetic of Marigold Santos

Filipinos in Canada oscillate between invisibility and hypervisibility. We are simultaneously madehypervisibleby the common tropes of the nanny, nurse, or troubled youth, which rendersinvisibleother important concerns, contributions, and interventions made by Filipino Canadians.¹ As she complicates the trope of visibility for artists within the black diaspora, the curator and scholar Andrea Fatona reminds us that to be seen or to be made visible does not necessarily entail empowerment.² Fatona in fact notes that the opposite in artistic representation may be true—that is, making black subjects invisible as an aesthetic strategy in order to deny objectifying