‘Blue and the Altars of the Sublime’ – Onwards Studio 2019
‘Heat augments thirst. Whence comes the disposition men have always had to build their habitations near the sea.’ Brillat Savarin, The Physiology of Taste; or, Transcendental Gastronomy.
Blue and the Altars of the Sublime was my largest body of work and exhibition to date, at Onwards studio in 2019. It was the result of a 3 month long residency at Onwards Studio, and my long awaited foray into the symbolism of food, the ocean, and really long self-indulgent painting titles. I put everything into these paintings, and although I was working as a teacher 5 days a week, I spent every night and every weekend in the studio, ploughing away at the canvas with the dedication of a workhorse. I was influenced heavily by symbolism, allegory, and the 18th century French painter Chardin; in particular, his seminal work ‘The Skate’.
Image from https://www.louvre.fr/en/oeuvre-notices/ray
In the studio at Onwards, 2019.
I became interested in food and its connection to myself, others around me, and society on a macro scale through my partner – who is a passionate chef. His constant fascination and enthusiasm for food steers him through every aspect of his existence, something that has enamored, challenged and captivated me. Eventually, that interest spilled over into mine.
A selection of photographs I used as reference images to develop the body of work.
After photographing the octopus, I boiled and ate it with my partner. A visceral, solicitous experience.
Food is for all of us, yet its ability to classify, incite extreme emotion and define entire cultures is infinite. What unites us more than our basic instinct to sustain life? What is a gathering without breaking bread? On a less existential matter, why are oysters and caviar considered delicacies, only fit for those of us who can afford expensive indulgence (who cares what it tastes like – did you see what I paid for it?!)? Food touches on every aspect of the human experience, the theme ripe for unpacking an infinite amount of possibilities.
And then there is the other thing.
My interest in the ocean and its roaring horizon, the impertinent shades of blue, and its ever-changing moods has been surging its way through my painting for years. In this body of work, the ‘Blue’ again submersed my foodie premeditations and dominated my palette. I live by the ocean and although have spent years at a time abroad, reviling my visits to the frantic metropolis and concrete jungles, I’ve always felt the most freedom by the Blue. The entirely separate universe that exists under the horizon is teeming with colour, creatures, and unknown possibilities. I explored the un-comfortability of taking something from its blue world, touching it, documenting it, then eating it. Breaking down that process of consuming from the ocean-inspired ‘Detritus left from the scene’.
‘Detrius left from the scene’ 2019. Oil on canvas 60cm x 70cm
Sun-drenched and content we slurp oysters and Riesling, floating in and out of debate, sensory sentience and beyond.
Delightful, slippery, distinct, salty, alive.
This body of work attempts to capture – like a message in a bottle – a fleeting sense of nourishment for the mind.
* The exhibition was accompanied by a zine I produced over the course of the residency, including my partners handwritten recipe for the dish we prepared, Galacian Octopus. See the zine and recipe in full below.
