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Kriss Munsya’s The Eraser is a conceptually layered photographic series that interrogates memory, identity, and the internalization of supremacy. Through a process of critical reflection and reimagination, the series explores the protagonist’s confrontation with a past shaped by racial bias and self-perception. By revisiting formative experiences, Munsya examines how internalized narratives have shaped his desires, relationships, and sense of self.

No More Runnin’ addresses the complexities of self-image and the learned biases that influence identity formation. As a child in a predominantly white school, the artist's sense of difference was imposed upon him, shaping not only his social interactions but also his emerging understanding of desire and belonging. Conditioned to see Blackness as undesirable, his early perceptions of beauty and sexuality were constructed through a framework of whiteness, an inheritance he now seeks to unlearn.

The Eraser becomes a site of transformation, where the artist attempts to rewrite these narratives by replacing whiteness with Blackness in his recollections. Yet, as the series suggests, memory resists manipulation. The act of substitution is not a simple erasure but rather a confrontation, an effort to reclaim identity and reshape the past while acknowledging its lingering presence.

The Eraser was a finalist for the prestigious Hopper Prize (2021). No More Runnin’ was exhibited as part of Gallery 44 - Centre for Contemporary Photography’s annual salon, where it received the Toronto Image Works award for Best in Show (March 2025).