In this article, I examine the construct of parental home or maher in my native language Marathi—as a social, emotional, cultural, spiritual, physical, and lived construct. Maher informs my struggle to comprehend the construct of home and its relationship to displacement, loss of familiarity, nostalgia, and the liminal. I juxtapose my experiences of being a newly married woman of Indian origin in the United States, with my experiences of being a new graduate student in a reputed North American university—both simultaneous life events. This article is an autoethnographical reflection on my negotiation of my marital and academic landscapes where I found my identity and ontological orientations challenged. The borderlands that resulted from geo-familial displacement and ontological displacement in academia intersected to create vantage points and liminal spaces that allowed me to explore, re-orient, and assert my ontological roots that are informed by Indian philosophy—specifically, the Advaita Vedanta approach. This article explores the power of art as research and the process of art-making as a process synchronous to researching to explore identity in the making.

在本文中，我研究了父母住所或母亲的构造用我的母语马拉地语（Marathi）–是一种社交，情感，文化，精神，身体和生活的构造。Maher告诉我要努力理解房屋的建造及其与流离失所，不熟悉，怀旧和门槛之间的关系。我将自己在美国成为印度裔新婚女子的经历与在北美某著名大学当一名新研究生的经历并存，包括同时发生的生活事件。本文是对我的婚姻和学术环境谈判的自传民族志反思，发现我的身份和本体论取向受到挑战。由学术界的地理家庭位移和本体位移导致的边界地区相交，形成了有利的位置和边沿空间，使我得以探索，重新定位，并坚持印度哲学（特别是Advaita Vedanta方法）所启发的本体论根源。本文探讨艺术作为研究的力量以及艺术创作的过程，将其作为与研究同步以探索创作中的身份的过程。