Retracing Narratives, 2017-2019
Retracing Narratives, 2017-2019

Comprised of more than 60 tracings of articles, logos, diagrams, and personal accounts, this installation follows sugar from the hands of the cane cutter to the grasp of worldwide corporate entities. Through the act of tracing, the piece is a slow study—or meditation—on a commodified natural resource that links my Guyanese family to the country of my citizenship.

My mother grew up on a sugarcane plantation in Guyana. She was primarily raised by my great grandmother—the cane cutter. Through my mother’s written reflection, my great-grandmother’s working life serves as the core of Retracing Narratives. From descriptions of the cane’s razor-like leaves, to the rigors of a cutter’s life, to the taste of raw cane juice, these personal accounts counter the cold objectivity of the processing, marketing, and distributing of sugar around the world. Retracing Narratives extends from the body of the cane cutter, to plantation owners, to multinational food companies, to the hungry consumer—all of which are implicitly tied and dependent.

Retracing Narratives,  2017-2019
Retracing Narratives, 2017-2019

Comprised of more than 60 tracings of articles, logos, diagrams, and personal accounts, this installation follows sugar from the hands of the cane cutter to the grasp of worldwide corporate entities. Through the act of tracing, the piece is a slow study—or meditation—on a commodified natural resource that links my Guyanese family to the country of my citizenship.

My mother grew up on a sugarcane plantation in Guyana. She was primarily raised by my great grandmother—the cane cutter. Through my mother’s written reflection, my great-grandmother’s working life serves as the core of Retracing Narratives. From descriptions of the cane’s razor-like leaves, to the rigors of a cutter’s life, to the taste of raw cane juice, these personal accounts counter the cold objectivity of the processing, marketing, and distributing of sugar around the world. Retracing Narratives extends from the body of the cane cutter, to plantation owners, to multinational food companies, to the hungry consumer—all of which are implicitly tied and dependent.

Retracing Narratives, 2017-2019
Retracing Narratives,  2017-2019
Retracing Narratives, 2017-2019

Comprised of more than 60 tracings of articles, logos, diagrams, and personal accounts, this installation follows sugar from the hands of the cane cutter to the grasp of worldwide corporate entities. Through the act of tracing, the piece is a slow study—or meditation—on a commodified natural resource that links my Guyanese family to the country of my citizenship.

My mother grew up on a sugarcane plantation in Guyana. She was primarily raised by my great grandmother—the cane cutter. Through my mother’s written reflection, my great-grandmother’s working life serves as the core of Retracing Narratives. From descriptions of the cane’s razor-like leaves, to the rigors of a cutter’s life, to the taste of raw cane juice, these personal accounts counter the cold objectivity of the processing, marketing, and distributing of sugar around the world. Retracing Narratives extends from the body of the cane cutter, to plantation owners, to multinational food companies, to the hungry consumer—all of which are implicitly tied and dependent.

Retracing Narratives, 2017-2019

Comprised of more than 60 tracings of articles, logos, diagrams, and personal accounts, this installation follows sugar from the hands of the cane cutter to the grasp of worldwide corporate entities. Through the act of tracing, the piece is a slow study—or meditation—on a commodified natural resource that links my Guyanese family to the country of my citizenship.

My mother grew up on a sugarcane plantation in Guyana. She was primarily raised by my great grandmother—the cane cutter. Through my mother’s written reflection, my great-grandmother’s working life serves as the core of Retracing Narratives. From descriptions of the cane’s razor-like leaves, to the rigors of a cutter’s life, to the taste of raw cane juice, these personal accounts counter the cold objectivity of the processing, marketing, and distributing of sugar around the world. Retracing Narratives extends from the body of the cane cutter, to plantation owners, to multinational food companies, to the hungry consumer—all of which are implicitly tied and dependent.

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