food art
An epilogue of sorts; or, objectively anticlimactic.
Fresh food, ageing food, colourful food or any touched up food or food juxtaposed with other items is a good canvas for food art or food artwork. This is in sharp contrast to reverent/irreverent-shaped-produce that excites a cheap laugh. Many inert shapes offer scope for interaction; however, food all the more so, being organic, alive and it develops\deteriorates. Touched-up food can provide a picture, it can speak back and it changes character; the results often are serendipitous and they may also lead on to a new idea and new 3-d shapes. The food artist finds latent 3d objects behind the food art shape that is exciting not for its blatant contours but for the hidden possibilities to be discovered. One handles these shapes on a daily basis; all one has to do is notice what is being handled and look beyond and even add a personal touch to animate the available 3-d piece. It is a little challenging exercise that comes one's way and is exploited; not quite subliminal .. mind.
when one goes away from home for short periods pf time, on returning one invariably finds growth on veggies that are left behind. by placing these at some calculated distance away from natural light and rotating them continually one ends up with some intriguing, quite controlled, 3-d growth, safely called sculpting with nature. for green finger purists, these plants can eventually be cultivated as they produce great blooms.
awkward rugged shapes usually do not say much until a tick or two or a squiggle or two are added. what was curious about this piece was that it was reversible and that it produced a character on both elevations. the growth stayed extending at leisure for a while .. a picture a minute or time lapse.
the little chappy could not have been other than unhappy .. so, no way could he have squeezed out a smile, especially as the shoot only got bigger in size
an ugly surreal heart shape, with its unsightly growths and fading colours is juxtaposed in its original, untouched form with an inverted, slick barbie type doll and allowed to add to or deduct from the totality of the 3-d piece. in earlier pictures of this arrangement, a justification is presented for this combination.
the arrangement is acceptable even if, maybe, obvious, so going on to the next picture ...
... it is probably what they would have wanted, even if they find out that they are moving in the wrong direction
crumbling or half eaten leftovers are best left untouched. in spite of that the potential lies in the eyes of the beholder
this image has been registered and saved in the 'pictures file' for as long as it has been a haunting memory. eventually, one fine day a pottery piece comes out of it thanks to this image that after being lodged subconsciously it eventually breaks free. a solid, or volume of revolution is tackled within the confines of, say, pure maths .. but this is applied arts and this image is tackled within 3 d applied art parameters
drawing on a rotting carrot with permanent markers is a challenge. once that is complete and in spite of that nothing lasting comes out of it .. until the interaction ingredient is thrown in as shown in the next pic
it is picked up to be disposed of. rather than that, it is the interaction along with the picture of the doleful eyes that provides the animation and turns the piece into 3-d
drawing is not pushing this piece quite enough. the addition of a limb is a step in the right direction. the shadows are incidental but serendipitous too. they seem to be the final ingredient.
this is lifted from its original 3-d state, none-the-less, into a new 3-d piece, now surreal, drowsy, aloof, not too bothered with its ambiguous looks. it is an animated piece that contorts, wrinkles and shrinks; the line drawings move and change the expression
not even a cheap giggle