Summary
Highlights
Kara Walker reflects on the perception that her work "deals with history" and racism, stating that while her art is consumed by history, she doesn't believe it effectively 'fixes' historical problems. She acknowledges the desire for an artist to be a 'hero' in addressing these issues.
Walker describes her first encounter with the abandoned Domino Sugar Factory, noting its overwhelming presence of molasses and sugar residue. She saw it as a "cathedral to industry" and a single commodity. The project was conceived with the understanding that the space would be demolished after the exhibition.
Walker explains her research into the history of sugar, highlighting its origins in tropical climates and its harvesting by slaves, underpaid workers, and children. This history, full of what she describes as 'ruins,' became central to her artistic exploration.
Inspired by historical accounts of 'sugar subtleties'—elaborate sugar sculptures made for royalty—Walker found a concept that could embrace multiple themes, particularly power. This led to the idea of creating a figure that embodies these historical and social complexities.
Walker's initial struggles with conceptualizing the main figure led to the idea of a sphinx, not as an Egyptian relic, but as a new world figure. She details the collaborative process of creating the sculpture, from clay models to robotic carving and the final hand-finishing, emphasizing the human element in art.
Sugar artist Eric Hagan explains the process of creating the smaller 'mammy' figures using a mixture of corn syrup, sugar, and water, boiled to high temperatures and poured into molds. Walker reflects on the joy of working with sugar, comparing it to kindergarten art-making, and the significance of using a temporal material.
Walker expresses her fascination with the melting and dripping aspects of the sugar figures, drawing a parallel to the perpetually dripping molasses inside the factory. She interprets the large sphinx-like 'mammy' figure as powerful and unexpected, challenging conventional expectations and historical depictions of such figures, despite her posture of supplication.
Walker concludes by emphasizing the importance of looking back at history, acknowledging that while it can lead to stagnation, moving forward without a deep, historical sense of connectedness is equally detrimental. Her work serves as a powerful reminder of this crucial balance.