Memory scholarship appears either deceptively simple or unnecessarily complicated especially when one has to negotiate a way through varieties of memory which parade under headings as diverse as “common”, “deep”, “collective”, “cultural”, “countermemory”, “rememory” and “postmemory”. When this corpus is coloured by processes coming out of enslavement, it links with diasporic consciousness. Recent theorisations of diaspora converge on the politics of home(lessness), migration and displacement. This paper analyses a selection of Berni Searle's work, from the Bloedlyne (1999), Colour Me (2000) and Discoloured (2001) series, for what it reveals about home, dislocation, and process. The article explores how an attentive reading of Searle's work reveals concentric material, physical and conceptual routes which link with overlapping diasporas signalled by her reliance on African/Asian slave iconographies. She suggests a troubled combination of rupture and continuation through her resistance to typically flat colonialist mapping projects. Using her body, spices and a range of other “mundane domestic” items, Searle's work comments on alternative knowledge production under conditions shaped by the racist narratives of colonialism, slavery and apartheid. Given that Blackwomen's bodies, spice and colouredness are overinscribed in systems of slave and colonial signification, these sites become useful media to explore the slipperiness of epistemic activity. Berni Searle's work tackles the recognition that “one of the legacies of knowledge that we who were once the objects of that clinical gaze find it difficult to transcend it”, (Chude‐Sokei 1997, 2) not through a mere observation and comment on this as fact but through a destabilising process. The paper will demonstrate the manner in which these installations suggest new ground for thinking through how this project might be approached conceptually.