Food

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Art Food

Evoking West-African Masks, Faces Emerge from Cast-Iron Skillets by Artist Hugh Hayden

August 12, 2020

Grace Ebert

“Jazz 10” (2020), cast iron, 16 1/2 x 11 3/4 x 3 1/8 inches. All images © Hugh Hayden, courtesy of Lisson Gallery

New York-based artist Hugh Hayden (previously) visualizes the ways African traditions are embedded into multiple facets of American culture through a series of cast-iron skillets. Part of a larger exhibition titled American Food, the 26 pans are molded to reveal facial impressions that evoke West African-style masks, blending the cooking tool and cultural object.

Generally established by cooks who were enslaved, southern food includes many of the flavors, techniques, and ingredients prevalent in African cuisine, forming what Hayden sees as one of the foremost culinary traditions distinct to the United States. This direct impact is evident in the physical artworks—the expressive masks literally emerge from the pans—although it transcends the effects on the kitchen. As he writes about “The Cosby’s” (shown below) on Instagram, “I made this triptych as an homage to the indelible cultural impact of the African diaspora on the creation of American entertainment, food, industry, and society.”

Hayden creates the skillets through sand casting, a manufacturing technique that utilizes the granular substance as a mold, which the artist employs as a way to recognize “the imperfectness of the materials, their colonial histories, and the inherent loss of detail in the reproduction process.” He also parallels the sculpting process to the diaspora, considering how the original object is obscured and imbued with cultural significance when it’s finished. Ultimately, American Food celebrates “the indebtedness to African origins in the cooking—as a form of creation of America, Western culture, and Modern Art,” a statement says.

 

“Jazz 19” (2020), cast iron, 21 1/4 x 12 x 5 1/2 inches

“The Cosby’s” (2020), cast iron, three skillets, 12 1/8 x 8 1/4 x 5 7/8 inches, 14 1/2 x 10 5/8 x 4 1/4 inches, 18 7/8 x 14 1/8 x 2 1/2 inches

“Jazz 15” (2020), cast iron, 16 7/8 x 11 3/8 x 6 1/4 inches

Left: “The Cosby’s” (2020), cast iron, three skillets, 12 1/8 x 8 1/4 x 5 7/8 inches, 14 1/2 x 10 5/8 x 4 1/4 inches, 18 7/8 x 14 1/8 x 2 1/2 inches. Right: “Jazz 17” (2020), cast iron, 16 1/4 x 10 3/8 x 7 inches

“Jazz 18” (2020), cast iron, 19 5/8 x 9 5/8 x 5 inches

 

 



Art Food

Plump and Peeled Ceramic Bananas Shape Koji Kasatani's Evocative Sculptures

August 10, 2020

Grace Ebert

All images © Koji Kasatani, shared with permission

Long before the infamous banana sent waves through the art world last year, Koji Kasatani was forming playful sculptures with the yellow produce. From a couple of peels mid-waltz to another fruit flattened into a puddle, the ceramic-and-resin artworks are evocative and humorous. Kasatani shares with Colossal that while the banana is a recurring motif, its purpose is light-hearted and is a form of idiosyncratic expression.

At 40 years old, the Japanese artist first started sculpting ceramic pieces after a residency in Florence, where he learned traditional Italian techniques. Since 2010, Kasatani has created an extensive body of work inspired by the fruit, which you can find on Instagram.

 

 

 



Design Food

Tote Around Exactly One Watermelon in This Elegant Leather Bag

August 1, 2020

Grace Ebert

All images © Tsuchiya Kaban

Say goodbye to the days of fumbling an unwieldy melon while trying to carry in groceries. Japanese designer Tsuchiya Kaban’s latest leather bag provides an elegant, luxury vessel tote around your fruit. Holding exactly one, round watermelon, the carrier was crafted by Yusuke Kadoi as part of a project titled The Fun of Carrying, which encouraged designers to create playful, inventive items as side projects. Watch the video below to see Kadoi’s process and how simply he secures a watermelon inside. (via Spoon & Tamago)

 

 

 



Design Food

Sumptuous Cakes Designed by Tortik Annushka Emerge as Elegant, Sculptural Desserts

July 27, 2020

Grace Ebert

All images © Tortik Annushka, shared with permission

Tortik Annushka’s fondant-wrapped desserts more closely resemble luxurious, edible artworks than the buttercream sheet cakes available from grocery bakeries. Based in Moscow, the confectionary designs lavish pastries that mimic a tub of ice cream, asymmetric sculptures, and famous paintings. Each pristinely shaped tier is made by hand entirely from scratch.

Founded in 2009 by a brother and sister, Torik Annushka hopes to offer more workshops and open a spot to enjoy the luxurious sweets in the future. You can follow the family business’s delightful creations on Instagram. (via swissmiss)

 

 

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Food Photography

The Breathless Grit and Determination of South Korea’s Iconic Female Divers Are Captured in Life-Size Portraits by Hyung S. Kim

July 14, 2020

Grace Ebert

Her Kyungsuk, Hamo Jeju (2014). All images © Hyung S. Kim, shared with permission

Between 2012 and 2014, Seoul-based photographer Hyung S. Kim frequently visited Jeju Island, which lies off the southern coast of South Korea, to document the impressive women carrying on a centuries-old practice. Named the haenyeo—which literally translates to ocean women—the iconic divers harvest shellfish and other sea life without oxygen, requiring that they hold their breath for up to three minutes while plunging 10 meters underwater. Today, many have surpassed age sixty: the youngest diver Kim photographed was 38 at the time, while the oldest was more than 90.

Captured just after they exited the water, Kim’s life-size portraits situate the women against a stark, white backdrop, which emphasizes their dirt-speckled shoes and wet, shining gear. Their equipment includes a tewak, the orange sphere slung over some of their shoulders, that floats at the surface during each dive and lead weights attached to their waists to hasten the descent.

“They are shown exactly as they are, tired and breathless. But, at the same time, they embody incredible mental and physical stamina, as the work itself is so dangerous; every day they cross the fine line between life and death,” Kim explained in an interview with The New Yorker immediately following the series’ release.” I wanted to capture this extreme duality of the women: their utmost strength combined with human fragility.”

In 2016, the haenyeo were added to the UNESCO List of Intangible Cultural Heritage as the number of divers has dwindled from around 20,000 in the 1960s to just 2,500 in recent years. Although the work was male-dominated originally, it began to reflect the semi-matriarchal society of the Jeju by the 18th century and continues to be led by women today.

Explore the full collection of Kim’s portraits and see where the remarkable series will be exhibited next by following the photographer on Instagram. You also might enjoy Kimi Werner’s short film documenting her visit to Jeju Island.

 

Kim Julja, Dodu Jeju (2013)

Left: Hyun Okwoo, Onpyeong Jeju (2014). Right: Hyun Soonok, Hwasun Jeju (2013)

Hyun Okran, Onpyeong Jeju (2014)

Left: Kim Sanok, Hamo Jeju (2014). Right: Oh Bonghee, Hwasun Jeju (2013)

Lee Hwaju, Hamo Jeju (2014)

 

 



Art Food

Berries, Cookies, and Salami Slices Anonymize Vintage Portraits by Digital Artist Harriet Moutsopoulos

July 9, 2020

Grace Ebert

“Idaeus,” 20 x 24.01 inches. All images © Harriet Moutsopoulos, shared with permission

Telling someone that there’s an errant herb stuck between their teeth or a dot of sauce just below their lip is likely to spur embarrassment, so noting that they’re covered in egg or raspberry or a gloopy mound of ketchup might be too much to bear. Harriet Moutsopoulos, though, helps her subjects save face by completely masking their distinct features with singular bites of fruit, bowls of ice cream, and slices of salami, ensuring their anonymity.

The Australian artist, who works under the name Lexicon Love, combines found portraits and edibles into strange collages. Although her techniques are digital, Moutsopolous often considers analog practices, preferring basic technologies to programs like Photoshop or Illustrator. She also imposes limits of two or three elements to maintain the integrity of each piece. “The most significant challenge for me is giving each artwork the slight imperfections of hand and the general look and feel of being made entirely from traditional, analog practices,” she says.

Moutsopolous tells Colossal that she’s “drawn to the surreal and unsettling and try to inject that into my work where possible, always seeking out the unexpected connections between humor and tragedy.” At times both comical and unsettling, the bizarre compilations inspire questions about the subjects’ identities. “On the surface, this absurd combination appears to reject any sense of reason (an extension of my own twisted sense of humor). However, obscuring the faces of my portraits with food is designed to not only challenge traditional notions of beauty but also to provoke, tease, and confuse the observer,” the artist says.

Pick up one of Moutsopoulos’s prints on her site, and follow her future food-covered assemblages on Instagram. (via Inag)

 

“Protogonus,” 20 x 24.01 inches

“Carry on Regardless,” 20 x 24.01 inches

“Cancelled,” 20 x 24.01 inches

“You Win Again,” 20 x 20 inches

“First Love,” 20 x 24.01 inches

“Lorem Ipsum,” 20 × 24.01 inches

“Dog’s Balls,” 20 x 24.01 inches