Using domestic tropes and feminist theory, my practice examines the deconstruction of conventional forms (currently: cake) in order to address questions of gender, domesticity, sensuality, and feminism. No longer is cake an object for consumption; through re-encoding the familiar, it becomes a vehicle for both embracing and subverting a traditional domestic sphere.
Painting mimics baking in its materiality, mess, and in the creation of something whole, yet a beautiful cake is one that does not allude to its making. Each of my compositions follows from a close examination of imagery in cookbooks. The beauty and delicacy of the cookbook photographs is replaced by a loose gesture, aggressive painting style, and evidence of the painting process. I use washy layers of paint to suggest fragile glass cake stands and concentrated layers to build up the weight of the cake. The brushmarks suggest playfulness but also potency. The drips are relics of the process. The palette disrupts notions of what cakes should be. By reframing cakes as objects that are graceful yet defiant, the Cakes Series invites viewers to complicate binary notions of femininity, contemplate more complex meanings, and consider the related political, economic, and social implications.