Rooted in personal familial ties, this body of Sula Bermudéz-Silverman’s work explores the stratified social experience and power struggle of her Afro-Puerto Rican ancestors who worked on sugar plantations, using sugar and doll houses as a symbol of status. The meaning of this symbol has evolved in conjunction with society’s ever-changing economic standing. Sugar in the 18th century was once regarded as something exclusive to the wealthy and a sign of privilege. As production and access to sugar has grown, it has become less a symbol of wealth, but still carries a connection to slavery and classist exploitation.
Neither Fish, Flesh, nor Fowl, 2020
isomalt sugar, glass, found objects, steel light boxes, acetate sheets, insects, phylliu bioculatum, chewing gum. Each house is 26” x 19” x 27”
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