2010, Graphite and acrylic on wood, 19"w x 23.75"h
I make and reference food not only to survive but to feed our desire. Working in a wide range of media and methods, the line between my studio and kitchen is extremely blurred. With my work I am stimulating all of my guests’ senses. I experiment with their expectations of flavors, textures, presentation, and even at times excretion. When I use food, a material that is so interactive, my guests have to ingest and physically process the work to fully understand the gift. With my inedible work, I demand an intimate affair. I want my guests to get up close, see my delicate sense of material, and have a one-on-one experience. At the same time though, the work can repulse through odd corporeal elements and by comparing the carnal to the elegant. I put our physical desires to our desire to be satisfied by food parallel to one another. I make these connections because there are very few occurrences when both completely activate all of our senses. When my guests accept the gifts I offer them, they are ingesting a part of me, my energy and my product. Nothing is more intimate than sharing food, which is really ingesting your host. I want my guests to savor, appraise, think about and discuss the gifts I present to them and to be aware to not just consume or accept what they are offered.
A Daimler Company
I am always curious to see what people do with my name. Sometimes I am saddened by the body of works, other times I find great pleasure in the work. I have always appreciated the use of natural art forms used in human art. This is one of those. It both speaks my name and expresses the joy in it.