Interior, Brechin Castle Sugar Factory, Trinidad, West Indies

Pablo Delano, Puerto Rican, born 1954

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2012

Pigment print [Epson UltraChrome K3 inks] on Inkpress paper

Overall: 22 × 17 in. (55.9 × 43.2 cm)

Hood Museum of Art, Dartmouth College: Pruchased through the Elizabeth and David C. Lowenstein '67 Fund

© Pablo Delano

2013.40.2

Geography/Culture

Central America, Caribbean, Puerto Rico

Period

21st century

Object Name

Photograph

Classification

Photograph

Not on view

Inscription

Printed, below image: Interior, Brechin Castle Sugar Factory, Trinidad, West Indies

Course History

ANTH 33, AAAS 83.8, LACS 38, Global Caribbean, Chelsey Kivland, Spring 2019

WRIT 5, Expository Writing, William Craig, Winter 2014

Exhibition History

Pablo Delano has long been fascinated with the Caribbean island of Trinidad. In 2008 he published In Trinidad, a remarkable book of photographs that reflected the island’s complex history, cultural traditions, public rituals, and post-colonial identity. In 2012 Delano returned to Trinidad and embarked on a new series of photographs that documented the abandoned sugar factories and crumbling mansions owned by their former managers. Like the photographs he made for In Trinidad, these works address the legacy of colonialism in post-independence Trinidad. However, while the earlier series depicted the diversity of Trinidad’s multiethnic communities, these new works are eerily depopulated. The titles of these photographs, which are deliberately factual and long-winded, are intended to evoke the captions assigned to photographs of similar buildings in colonial guidebooks. The decayed ruins are a visible reminder that the economy of this Caribbean island once depended on the exploitation of African slaves to feed the seemingly insatiable demand, in both Europe and the United States, for luxury food items like sugar, coffee, and cocoa. Following emancipation, British companies like Tate & Lyle arranged for indentured workers from India, another colony in the British Empire, to replace slave labor on the plantations of Trinidad by working under appalling conditions in these newly constructed factories, many of which were in operation until fairly recently.

In Residence: Contemporary Art at Dartmouth, Hood Museum of Art, Harrington Gallery, Dartmouth College, Hanover, New Hampshire, January 18-July 6, 2014.

Publication History

Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. p. 99 , no. 89

Provenance

The artist, West Hartford, Connecticut; sold to present collection, 2013.

This record was created from historic documentation and may not have been reviewed by a curator; it may be inaccurate or incomplete.

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