Megan Van Groll paints women– mediating on the fine line between nakedness and nudity, or how these two concepts relate to freedom or identity. Likewise, from bathing in cocoa puffs to sensually brawling at a donut shop, her food motif is an interesting one, often working in tandem with the female form– provoking thoughts of fetish from the outside, but also, a much more personal and complicated binging ceremony.
Of her own craft, Groll states, “My narrative portraits of women are, at their core, a painted attempt to understand and portray how modern women create identity and meaning from the world around them. I am interested in exploring the way we perform our projected ideal personas, for ourselves and for others.”
The artwork created by the Japanese art collective known as Three creates work with a political subtext as powerful as it is subtle. Three often uses common food objects such as fish shaped soy sauce packets or candy. For example, the installation Eat Me uses 7,000 wrapped candy pieces hung from the gallery ceiling in the shape of a house. Visitors are encouraged to pluck candy from the installation and toss the wrapper in a corner set aside in the gallery. Slowly throughout the day the ‘house’ of candy is transformed into a pile of trash – a symbolic recreation of the overwhelming destruction of homes by Japan’s 2011 earthquake and tsunami.
Photographer Christopher Boffoli continues his popular his Big Appetites series. The series of photographs captures tiny people living in a giant culinary world. These inhabitants explore, work, and even get into trouble with their huge food surroundings. Despite its whimsical appearance, the series has a more serious grounding. Big Appetites reflects America’s complex relationship with food. The consumption of food – not only by eating it, but by reading and watching television about it – is ubiquitous, as if we lived in a giant world of food.
Beth Galton‘s series Cut Food is a side of food photography rarely seen – the inside. Galton is a prolific photographer specializing in food. While she works primarily in advertising and commercial photography, Cut Food is one of several conceptual projects from Galton. The series captures common foods, though some not so commonly sliced in half. Canned soups and a cup of coffee seem to rest perfectly in half of a container. In order to catch some of these Galton replaced the liquids in the foods with a gelatin.
Artist and architect Hong Yi emphasizes ‘art’ in culinary art. Her simple white dishes are plated with food. However, this is more than a simple meal. Only using these white dishes and food ingredients, Hong Yi recreates famous works of art, light hearted scenes, and pop culture icons. The project began as 31 days of creativity in March – an exercise she began to encourage more creativity every day. Each day Hong Yi would create a new piece and post it on instagram. [via]
Designer David Schwen presents some interesting ‘Pantone’ pairings here. Rather than pairing complimentary colors, Schwen combines inseparable snacks. Designers constantly coordinate toward aesthetic perfection. These ‘swatches’ coordinate a much more common but no less perfect pairing. That said, our pursuits may be mundane, but still, we have a bit of designer in each of us.
Garth and Pierre are an artistic team based out of Washington state, for their series MENU they appropriated nostalgic imagery of restaurants, kitchens, and table settings to explore the perceptions and politics surrounding food. The artists use geometric shapes cut into the image by hand, leaving the viewer with a lace-like grid of highly graphic saturated colors that allude to a romanticized era that has long since passed.
“The Fat-Fat Club” is a hysterically childish new book by designer Aude Debout, who has a certain knack for combining images to create something ridiculous. This book imagines how the most gluttonous people see the world; people’s heads are hot dogs, buildings turn into overflowing desserts. In addition to the surreal content of this book, Debout definitely has an eye for the grid lines in compositions; knowing exactly where and how to combine these photographs. The layout of the book also shows Debout’s understanding of the medium she’s working with, as two separate, unrelated pages come together to form one cohesive new image.