Highlighting bitter-sweet history
''I thought: I can't make it out of New Zealand sugar. But then I realised that, there are no sugar cane plantations here and in fact, at the time of the Pacific slave trade, the sugar was coming in from Australia.'' Jasmine Togo-brisby
A glistening, sugar-based sculpture by a Wellington-based artist is set to bring the dark history of sugar-slavery to the fore.
The large-scale work, which goes on display at City Gallery Wellington later this week, features a pile of skulls cast in unrefined sugar.
Jasmine Togo-brisby a fourthgeneration Australian South Sea Islander, was inspired to create Bitter Sweet after the discovery of a mass unmarked grave on a Queensland sugar cane plantation in 2012.
Knowing that her greatgrandparents were sugar slaves – taken from Vanuatu as children and enslaved on Australia’s sugarcane plantations – Togobrisby felt compelled to tell that story through art.
‘‘It’s always been who I am and who we are as a family.
‘‘The production of sugar is the reason for our being, so it always seemed really obvious that I should use sugar to make the skulls.’’
The sugar was mixed with resin, ensuring the sculpture’s longevity while also adding a sheen to help it glisten under gallery lights.
While visually striking, it is not just the viewers’ eyes that will be engaged, with the sculpture giving off a sickly-sweet smell.
The work took Togo-brisby about two years to complete with a move to Wellington midway through the process adding an unforeseen challenge to getting it finished.
‘‘I needed to make the work out of Queensland sugar and I thought: I can’t make it out of New Zealand sugar.
‘‘But then I realised that, there are no sugar cane plantations here and in fact, at the time of the Pacific slave trade, the sugar was coming in from Australia.
‘‘It added another layer to the work.’’
The work is part of City Gallery Wellington’s wider Colonial Sugar exhibition which opens on August 26 with Togo-brisby scheduled to discuss her piece alongside her mother Christina Togo and Nina Tonga, Curator Pacific Art at Te Papa.
‘‘It’s personal for us, as a family, as a people and as a culture.’’