I love to criticise and bitch. It fills part of my moral conscious probably technically reserved for, I don’t know, being able to tolerate children. Problems with this, however, arise when reflecting upon my own practice: I am never fully satisfied with my work because I always seek to criticise my rate of conceptual progression. Upon completing a piece of work, the first thoughts that enter my mind are ‘well, ok, I’ve done that, what can I do now to further the idea? What’s next?’
I now find myself unsatisfied with simply making paints, and one direction I have been attracted to is the idea of converting the paint I have made back into food. This will add a substantial sense of narrative to my work, and highlight that, although food is able to transcend its original purpose, it also remains true to itself: It exists in a state of being between something old and something new.
‘Paint, Then Jam, Then Paint Again’
I see this as a fairly natural progression from the processes and connotations involved in making paint out of food, and there is something curiously indefinite about the whole process: I could spend the rest of my days concerning myself with converting food into paint, then back into food, then back into paint, then into food again until my blood vessels surrender and explode. But because I know that I can do this, there is no point, as professional development would become compromised and new, more engaging directions would not flourish.
So, what’s next?
An exercise in non-edible culinary practice.
This – you’ll no doubt be pleased to know – is just a short little post that considers the entities of food and light in such a broad sense that it’s in danger of being credited as a newly discovered ocean. Anyway, here goes…
Recently, the very concept of light entered my brain in relation to artistic practise. It is a concept taken for granted as light is fundamental to even instigate practice in the first place. As with all newly considered notions, I took to exploring ways light related to food and, in turn, how it can be applied to my own work. It struck me that the relationship between the two is more intertwined than you might think.
Food and light draw parallels to each other as both are at once a necessity and can be used creatively. A humble strike of a match equates to the basic nourishment of bread, whilst innovative light instillations compare to the meticulous presentations of haute cuisine. But don’t just take my word for it, feast your eyes on this little beauty that I went and did:
In this piece, food objects – in this case, slices of onion – have been painted in the colours of the spectrum and placed on a mirror. This allows light – or at least the concept of light – to exist as a tangible entity, whilst simultaneously allowing the objects to transcend their physical purpose and attain value. The use of a mirror is important because it allows the concept of light remain elusive, whilst further allowing the food objects to exceed their physical boundaries.
So, there we are. Food and light. Told you it was a short post didn’t I? And hopefully just interesting enough to stop you gauging a hamster’s eye out with a rusty hook.