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Like Lawson, Hurston was constitutionally attracted to the marginalized, the obscure, the ostensibly lowly. And, like Hurston, Lawson’s fullest subject is the diaspora itself. Looking at “Otisha” (2013), in which a young, naked Jamaican woman poses like a piece of West African statuary among the many leatherette couches that fill a cramped and overdecorated living room in Kingston, I thought of the Pocomania (or Pukkumina) cult that Hurston encountered in Jamaica, and which she heard a local man define as the compulsion to make “something out of nothing.” The diaspora is a broad and various thing, but one rich vein running through it has surely been the historical, economic, and personal necessity of making “something out of nothing.” In an illuminating conversation that Lawson had with Arthur Jafa, a Los Angeles-based artist and filmmaker, Jafa sketches this journey from nothing to something in miniature:
