A single locked gate encloses an open field on the Ke’anae Peninsula, which was created from lava flow originating from the Haleakala Crater. The stone church in the background was built in 1856 and is the only remaining building after the devastating tsunami of 1946 that killed 24 people. Now, the area is a popular pit stop where tourists can buy banana bread during the famous "Road to Hana".

A tourist watches a Filipino timeshare worker carry an industrial sized cooling unit in Kihei, Maui.

Amidst the popular camping grounds at Waiʻanapanapa State Park rests a private and ancient graveyard, the Honokalani 'Ohana Cemetery.

A white car overgrown by foliage in Kihei, Maui.

A Hawaiian boy hidden in the background of Waiʻanapanapa State Park arranges lava rock and coral in the private and ancient Honokalani 'Ohana Cemetery.

Three stalks of aloe taken from a plant bed in Kihei , Maui and wrapped in an issue of the local paper, "Maui Time" whose headline that week was "THE PROBLEM WITH CULTURAL HERITAGE TOURISM, AND WHY THE CONTINUED MISUSE OF HAWAIIAN CULTURE IS WRONG".

A white tourist poses for a photo to use for his dating profile picture with the Waimoku Falls in the background. A sign explaining the origin of the waterfall read "He wai makamaka 'ole" or "Water that recognizes no friend."

A Hawaiian day laborer works inside a hole in Kihei, Maui.

A white boat overgrown by foliage in Kihei, Maui.

A sign found in La Perouse Bay. The area contains many archaeological sites, including fishing shrines, salt pans, and heiau, or religious platforms. It is the site of Maui's most recent volcanic activity. The bay's Hawaiian name is Keoneʻoʻio. It was later named for the French explorer Captain Jean-François de Galaup, comte de La Pérouse.

Taken in Maui and printed in New York City as edible frosting layers intended for cakes, later transferred by brush onto fine art watercolor paper by hand, this series charts Sumulong’s travels throughout the historic sites and landscapes of Maui, Hawaii. Looking for scenes that represent the social realities and tensions woven into the island’s history, Sumulong found life on Maui to be an absurd and elaborate topiary.


The fact that Maui is a stock honeymoon destination brings sense to the choice to print on an edible surface. When thought of alongside weddings and wedding cakes, this medium shows how culture is, in the end, consumed by everyone. This choice was also a pointed gesture to sugar, the resource that the first wave of Filipino immigrants labored to cultivate.

Sumulong reflects and writes that “as a Filipino born and raised in the mainland, [he] imagined Hawaii as a staging ground for how racial difference is appraised, preserved, fetishized, consumed, commodified in this country.” He views Hawaii as the geographic equivalent of being a minority—it is a literal outlier, radically different to the culture of the continental USA, but nevertheless desired.


Lawrence Sumulong (b. 1987, United States) is a Filipino-American photographer and photo editor presently based in New York City. Interestingly, photography came to him without the introduction of a formal education: Sumulong instead studied contemporary American poetry in Grinnell College, under the tutelage of scholar and writer Ralph Savarese. He traveled to the Philippines on his own in 2007 in order to take pictures with it. This homecoming eventually became an exploration of his family’s roots, as an experiential piecing together of the land and country from where his immigrant parents had come from.


In this way, Sumulong’s beginnings have foreshadowed the work he will come to produce. Often returning to poetry as accompanying notes to his projects, he thinks of his photography as “personal documentary stories.” And because the stories that he seeks to tell are situated in his supposed home locality that is brimming with a language that he does not speak, the reality that gets processed by Sumulong is split by the simultaneous positioning of Filipino and foreigner. It is in this sense that he writes of being “caught between a moment of recognition/empathy and abjection/alienation,” and interested in creating work that is “layered, polyphonic and many-voiced.” Coming from this peculiar standpoint, Sumulong tackles subjects such as the Manila terrain—which he considers as his “surrogate home,” having “existed in retrograde to [his] life in America—its people, and the Filipino diaspora.


Armed with a keen sense of place and the political, Sumulong takes pictures with a decisive, yet observant eye. One cannot gaze at his photos and the stories they carry with ease. It comes plainly that social reality is almost always depicted and experienced with discomfort, and that in order for significant art to arise, veracity need not be shed. This forthcoming nature does not come as a surprise: in 1980, his parents had become immigrants in New Jersey in a move to flee the Marcos regime, which had been blacklisting dissidents.


Collaborating at times with advisers and other artists, Sumulong develops relationships with and within the medium. This deep involvement with various photographic processes and techniques is all part of Sumulong’s pursuit of what best represents the stories being told in his projects.

His methods range from working with a fisheye lens in order to bring out the claustrophobia of “routinely traveling through heat, smog, and the crush on the street for hours,” shooting images digitally, printing them with expired Polaroid 600 and SX-70 film, and lifting the emulsions onto recycled, unbleached paper stock, resulting in a visually distorted representation of the Philippine political system, to even more elaborate processes, such as creating ambrotypes—photographs on glass—using a 19th-century wet-plate collodion process, and printing photographs as edible frosting layers intended for cakes and later transferring them onto watercolor paper by hand.





Artist's website, www.lawrencesumulong.com


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Bubola, Emma. “The netherworld of the Philippines’ war on drugs.” Fisheye Magazine. 2017.


Fiell, Clem. “Sugar Coated? | The Photographer Using Frosting to Show Hawaii’s Dark Side.” Amuse. 18 July 2018.


Hiller, Geoffrey. “Lawrence Sumulong.” Verve Photo. 8 September 2014.


Mola, Anna. “Lawrence Sumulong | In Answer.” Private Photo Review. 8 June 2012.


Sedacca, Matthew. “A Son of Immigrants Contemplates What His Life Might Have been.” The New York Times. 28 January 2019.


Sumulong, Lawrence. “Bottleneck.” Invisible Photographer Asia. 25 April 2016.


Sumulong, Lawrence. “Dead To Rights.” The Story Institute. Undated.


“Artist Q&A: Lawrence Sumulong.” Nipa Mag. 15 October 2015.