Her work is a photographic investigation into the daily life of Indonesian domestic staff in Hong Kong. With little to no leisure time of unique space, labor migrants construct a parallel identity through social media channels. In the absence of a family life, and moving in a permanent female subculture, they have an ambiguous sexual identity. Sampson portrays the on-and offline existence of this population group in a layered and multi-media cartoon, consisting of documentary photography, visual material and text found on social media.
During a visit to Hong Kong in 2013, Sampson observed how hundreds of migrant workers - homeless for a day - are forced to spend their Sundays in the parks and public spaces of the city. The photographer built up a relationship with these women and spent many Sundays with them. The door Sampson and the women's self-portraits contrasted sharply with the exemplary passport photos on their application forms that Sampson considered as a potential employer. These documents, which private mediators pay the women high fee, reveal rough loopholes in labor law. The artist placed the agency or photos - dutifully women closed with the text 'Apples for sale' - in addition to the visual material posted by the labor migrants themselves. The discrepancy between a constructed typology of the exemplary worker and images of their desperate escape from the dreary reality, make a question of the portraits further removed from reality.