Return is a contemporary power statue, or Nkisi, where a Songye sculpture is wrapped in a tick layer of rope and postage stamps from Belgium, the Democratic Republic of Congo, Republic of the Congo, Kongo Free State, Katanga, Ruanda, Burundi, Zaïre and air freight labels in an endless, although clearly unsuccessful, attempt to return it to the sender. In Nkisi tradition, an object becomes powerful not through what it is but through what is done to it — the layering of materials, the accumulation of intention, the slow charging of a vessel with meaning over time, stamp after stamp. The Songye people of the Democratic Republic of Congo are known for their imposing power figures that protect and concentrate spiritual authority. They were also among the most aggressively targeted by colonial collectors, stripped from their communities and routed into European museums and private hands; often through the very postal and freight networks whose paper traces now coat this statue's surface. The stamps, coming from the collection of my late grandfather, who spent most of his working life as a postman, are transformed into something ceremonial. Return operates across several timescales simultaneously: the longue durée of colonial plunder, the span of one man's career, the bureaucratic crawl of institutional reckoning and the ongoing failure of European institutions to return what they stole. Pledges have been made, reports written, rhetoric shifted, but the objects have largely stayed in place. By treating the statue as an Nkisi, the work refuses the idea that these objects are inert, historical, settled. It insists they remain charged, and that the debt around them remains open.