This (?) questions: where does food photography start and where does it end? Am I a food photographer when I submerge a fogu fin in the swimming pool of Sources de Caudalie? No, of course not. Looking at the Planète Marx photos, we can no longer say that it is a recipe book. So it is a false debate. Have we asked ourselves whether Arcimboldo was a food painter because he used vegetable to create portrait? I am a photographer, I paint with light.
, a very conservative universe, has imposed a totally new style. The products themselves are produced in installations in which the artist is acting as the spokesperson of a nature brutalised by Man. We are what we it, or so it seems. But what are we eating exactly? These tortured battery chicken are asking here to get out of their eggshells and live normally. In Mathilde de l’Ecotais’ dreams, New York is made of cucumbers. Look at this burning Earth! No possible balance: on one side, rich countries that stuff themselves like geese, on the other, poor countries that die of hunger and thirst, between them, an ice stretch: cryosphere. ‘The essential is constantly threatened by the insignificant’ René Char used to say. It is like a moving octopus, which holds us tightly with its tentacles and destroys the biosphere. The juxtaposition of the same three-dimensional motif over flat prints retranscribes this impression: things seem to be autonomous, but in reality they depend on one another. Until when will industrialisation – the metal here – transform the row materials, traditional cultures, food habits? The agri-food industry is driven by profit, competitiveness and productivity and unfortunately forgets the essential: the enormous unbalance between overconsumption of the ones and malnutrition of the others.
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