Aaliyah Fakier-Alatovic

VIRTUAL TOUR

ARTIST CATALOGUE

SUGARDOME

This body of work, ‘SUGARDOME’ envisions a soft utopia built from overflow. It gathers sweetness, residue, and shimmer as materials for a future sustained by care. Across sculpture, video, and installation, the works form a living ecology where tenderness accumulates rather than fades, and beauty becomes a mode of endurance. At its centre stands a large pastel sculpture that resembles a cake, a building, or a sleeping organism. Its surface is dense with pearlescent domes and glossy ornaments that suggest icing, pearls, or growths. The object seems to breathe beneath its own decoration, existing between feast and infection. It proposes a body that heals through saturation, allowing pleasure, illness, and ornament to coexist.

A series of immersive videos fill the walls of the room. They layer collage, stop motion, and fragments of digital imagery drawn from online femininity: ribbons, gloss, shimmer, blush. These visual textures are not treated as spectacle but as a shared vocabulary. Borrowing from the aesthetics of the magical girl, they imagine a world in which transformation and vulnerability operate as power. The works describe an energetic pooling of girls’ wishes, a collective reservoir of tenderness and intensity that glows at the threshold between exhaustion and renewal. The basin installation gathers this overflow. Filled with pink ponies bathing in rose scented water, it functions as a site of ablution. It cleanses the mind and the spirit, and invites you to care for yourself and the ponies. Together, the works imagine a world built from the excess of feeling, a utopia formed not through order but through accumulation. In this world, the digital and the handmade merge into one porous surface. 

Femininity becomes infrastructure, ornament becomes architecture, and care becomes energy. Underlying this practice is a refusal of Enlightenment ideals of separateness and mastery, the Cartesian figure of Man who knows himself by dividing from what surrounds him. The works turn instead toward relationality and entanglement, aligning with decolonial modes of thought that value collective knowledge, permeability, and embodied experience. Within this cosmology, subjecthood is multiple, porous, and soft. The installation invites lingering, touch, and observation, allowing the audience to feel themselves as part of the porous networks of care, transformation, and shared wishes.