'making the most of an accident' - oil on canvas
while taking the photograph to paint my previous painting the little porcelain cup and saucer that i ran down and got for €3 in the local second hand store especially for this painting needed to be gently pushed off the 'table' ( which was a miraculous find of a dusty circular wooden board discarded in our apartment basement by a previous owner and covered by a sheet sasha's mother gave us that we currently use as makeshift curtains.) i piled pillows on the floor to break it's fall but as it fell i heard the crack and looked down to see the saucer was now in four pieces. it seemed like the logical next step to continue it's story so here it is in its current form, on display at the irish opera festival exhibition at greenacres gallery until december
🎨 Feast for the Eyes – The Story of Food in Photography
⌛️until 09.02.2020 .
🔎dwell time : ~1.5 hours .
🎨 Feast for the Eyes looks particularly at how food is represented and used in photographic practices and brings together a broad-range of artists , all of whom harness the history and popularity of food photography to express wider themes. Crossing public and private realms the works on show evoke deep-seated questions and anxieties about issues such as wealth, poverty, consumption, appetite, tradition, gender, race, desire, pleasure, revulsion and domesticity.
🎨 Presented over two floors, and featuring over 140 works, from black and white silver gelatin prints and early experiments with colour processes to contemporary works, the exhibition is arranged around three key themes
1. Still Life traces food photography’s relationship to one of the most popular genres in painting and features work that is both inspired by the tradition and how it has changed in the course of time.
2. Around the Table looks at the rituals that takes place around the consumption of food and the cultural identities reflected through the food we eat and people we eat with.
3. Finally, Playing with Food shows what happens when food photography is infused with humour, fun and irony. The exhibition will also feature a number of magazines and cookbooks which provide an additional visual and social history of food photography.
Some of my favourite photos .
🍳 SARAH LUCAS (photo 8)
Self Portrait with Fried Eggs, 1996
In response to 1990s 'lad culture,' which also coincided with the rise of celebrity chefs like Marco Pierre White and Gordon Ramsay, British artist Sarah Lucas employed food such as bananas, fish and chicken in her photographs and sculpture to call out the base language used to refer to women's bodies and also to reclaim it. In doing so, she takes the eroticism of food and turns it into sexual politics instead.
🍴 JO ANN CALLIS
Black Table Cloth, 1979
Jo Ann Callis's treatment of the food in this image is obsessive and tense, relying on saturated, cinematic lighting to create an unknown domestic drama seemingly set in the 1950s or 1960s.
Back Side / Dos à la mode
Robe du soir
Haute couture, automne-hiver 1961-1962
Gazar satin de soie d'Abraham
Balenciaga Archives, Paris.
"Au cours des années 1960, le travail de Cristobal Balenciaga (1885-1972) tend à l'épure, voire à l'abstraction. Le gazar, une armure de tissage complexe de soie sauvage réalisée spécialement pour lui par le tisserand suisse Abraham, devient sa matière de prédilection. Inspiré par le kimono, le noeud de ceinture Obi et la sensualité des nuques dans l'esthétique japonaise, le couturier profile les lignes de force du corps féminin et prolonge le dos par des traînes et des volumes d'une ampleur inédite."
Alexandre Samson, responsable des collections contemporaines au Palais Galliera.