Keywords: Relational Aesthetics, Relational Bodies, New Media, Sugar Cane, Labor Force.
Consumption of a product without a relationship with the hands of labor.
The artwork's narrative speaks of sugar cane work laborers’ and commenced with questions that ask the story of how the view that informs perceptions of labor and the production of sugar today. From the Spanish Canary Islands to Brazil, Peru, Puerto Rico, Mexico, Martinique, New Guinea, and Guadalupe, countries with a long history of sugar cane continue to remark a time or continue to be part of its consumption.
RB 2: White Gold is an interactive artwork of the game nature of slicing sugar cane. With the use of kinetic or camera tracking, participants use their bodies to slice the pieces of sugar cane that are projected.The work is further tested with the use of including a tool as a machete to help stimulate the action of cutting.
Collaboration artist : Ayaan Ghoshal
Materials: Projector, USB camera, projector, PC with HTTP compressed code. Machete prop
RB 7; Ofrendena Dulce:
“Ofrenda Dulce” is an altar offering for the sugar in our blood, honoring the labor composers who died throughout their respective eras. The offering is open to the public and is made visible to the known works of those who have passed away to demonstrate from the past to the present what the labor of sugar from the field to the table entails.
RB 5; The Sugar- Water turns within the context of the unframing sugar cane labor force. The video press breaks with an iconographic cosmos that is dominated by stereotypes of what we imagine sugar cane imagery and voiced by uses and affirmations of its production. This work speaks on the concerns that are all too frequently ignored in silence, particularly in the sphere of consumption of sugar, and these questions arise between idealized representations, critique, and propaganda.
A Video sculpture created from depolarized LCD televisions with polarizing film.
Materials, LCD Display, polarized film , raspberry pi
COEXISTENCE IN SPACE
The works are made to give respect and dialogue between the past and present sugarcane workers' discussions. It focuses deal about their personal and collective identities. Part of this missing identity can be obtained from sugar aesthetics, The ephemeral feeling of cutting sugar can with sound and knowing a repression of a form of gesture with old traditional xylograph images in this example, they speak to the visual representations of sugarcane workers and their relation to sugar. Yet it was very important to use various works to bring together this dialogue