The ‘Imagined Homeland’ series craft conceptually provocative, fluid and transient spaces of belonging beyond material particularities. His efforts to make the audience sensitive to the material realities of the Lisu are indicative of his interpretation of belongingness in the Lisu lives within and beyond the frame. The surface of the prints doesn’t simply remain an intermediary between the audience and the referents, as De had asserted. The surface itself becomes the space where the referents belong. It is the economy of the image that creates the possibilities of novel ways of human and nonhuman belongings. In doing so, Imagined Homeland helps introspect the accepted categories of family, kinship, domesticity and competing claims about them by making the idea of belonging an operative thread.