Pinhole Parishes draws from oral histories shared by my family, who migrated from Jamaica to Canada in the 1970s. Because no photographs exist of their lives before migration, I position myself as a custodian of a speculative archive—one that materializes memory through absence. I construct pinhole lenses by hand using found materials sourced in Jamaica, which I affix to my digital camera to photograph all 14 parishes. This process has unfolded over the past two and a half years. The pinhole aesthetic evokes the texture of 1960s–70s vernacular photography. The images shown here were taken during my January 2025 visit.