Work by Sabrina Haertig Gonzalez

Woman with shoulder length brown hair looking over her shoulder at the viewer.

Sabor a Carne (2021) Experimental Gallery, Cornell University. Ithaca, NY

Sabor a Carne is a sculpture series navigating the relationship of Latinx identity to poultry processing in the United States.

These works represent dedicated, intensive research of how the Latinx body is taxed through forced migration, dangerous labor, and the consumption of American chicken. At the intersection of exploitative policy and culture, one can observe a phenomenon of cannibalism. Chicken, or Pollo, an inseparable staple to Latinx cuisine for most, is equally inseparable from the unethical modes at which it is farmed and processed in mass–which heavily exploit the Latinx bodies.

The exploitation of migrant labor and systematic disenfranchisement of Latinx communities led many to work in dangerous employment such as meat processing, which compounded with the economic accessibility and cultural relevancy of chicken, positions them as producers, consumers, and the products themselves.

As one assumes these roles, what becomes of the "self?" What becomes of their relationship to the corporeal when violence is imparted and shared by the human and non-human? At what point does the taste of one's own labor spoil? "And when did you first taste yourself in the Boneless Skinless Chicken Thighs Family Pack? *Freshness guaranteed*."

This discourse is presented through the surreal manipulation of the contemporary, historical, domestic, industrial, and corporeal. From adopting pre-Columbian aesthetics to designing imagined future architectures, Sabor a Carne posits when meat became flesh.

Our Latex and Steel Heritage (2021) Dog Breakfast. Tjaden Gallery, Cornell University. Ithaca, NY

Through home-chef cyborg aesthetics and Taino Duho sculpture, Our Latex and Steel Heritage presents the collapsing of objects, tools, and beings within extractive economies. Sabrina's research has recently turned to navigate the exploitative normalities of female corporeality, animality, and the abject. The welded steel armature embodies predator and prey as it resembles a creature on four legs collapsing into its own enlarged, gaping mouth. Silicone casts of a hand-carved imaginary skin are sewn and stretched over the steel while graphs of dislocated silicone finger-nipple colonies exude. With exposed internal components, the viewer's perception of the "thing" straddles between object and creature. The work is titled Our Latex and Steel Heritage as it posits a future where a body, long subjected to labor or other extractions, dramatically inherits the materiality of its circumstances.

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