The piece explores the origins of the cane weaving pattern, of which nostalgically and naively I understood to be authentically Caribbean. As I further researched this craft design, I found ties to ancient Egyptian catacombs, India's indigo farms, and colonial England. The contested origins of this design has parallels to how identity is constructed, claimed, and appropriated, suggesting an inevitable dismantling of authenticity. The piece is a self portrait and a result of how auto-ethnographic archiving and research can merge. Composed of collected materials my body has worn through over the last 15 years, hand dyed indigo linen, and assembled and suspended to display a double sided cane weave.