Sarah Feng, class of 2023
Through my work and overarching sustained investigation, I’m exploring how food surpasses its foundational role of survival to form deeper connections and influences with humans. In each piece I hoped to explore a different facet of these relationships. Pieces like Nurturance highlight the ability for food to be an expression of endearment through the connection between a mother and her child. Simultaneously other pieces such as A Maize in History demonstrates the complicated societal implications food has formed through its interactions with different peoples and cultures. Most often, my pieces include bright and colorful elements to highlight the themes being spoken upon and interactions taking place. The pieces whose subjects are food have a highly realistic quality. This consistency allows the audience to focus on the natural and innate qualities of the food. Furthermore, each piece that is centered around food includes an added element that is less realistic (title, conjoined pieces, feathers etc.) that prompts the audience to explore the deeper meaning of the food in the context of culture, politics etc. My portfolio also includes pieces that are centered around the people rather than the food itself. For example in Nurturance, I utilized the vibrancy and quality of the paint to create a really dynamic and layered effect. This highlights the beauty of the interaction taking place.
Collection of 2 pieces, both 9"x9" watercolor and colored pencil
The depiction of the food is realistic and candid, however the cultural context of the foods and contrast between the Asian and American meals speaks to a deeper meaning. This piece is meant to illustrate a personal connection I have with food in that it illustrates a duality in my identity through cultural cuisine.
11"x15" watercolor and colored pencil
A Maize in History remarks upon the deficiency of Native American History within the American education system. As the war of Critical Race Theory rages through the headlines, the discourse at hand is embodied in the stories of indigenous people: a history that is often painted over and masked with American patriotism; a history deficient of the both atrocities these communities have faced and significance of their roles in the founding of this nation. The subjects of the painting are two ears of maize, a crop domesticated by indigenous tribes before colonization began. Not only was maize an essential crop for Native Americans, but under the guidance and aid of local tribes, it also became crucial to the survival of the first colonists upon their arrival. The clarity in which the corn is depicted is juxtaposed with two feathers both expressed in the innate blurriness of watercolor. The feathers depict the traditional feathers found on a Native headdress or war bonnet, and their blurry quality represents the disappearance of indigenous history from history books and education. As I reflected upon my own education, although grateful it included and emphasized an unfiltered depiction of America, I recognize this knowledge is sadly but a privilege, not a right for all students. Additionally, it alarms me that even to this day there are students my age unaware of the existence and continued hardships Native communities face today. The current challenges (political, cultural, and economic) faced by Native communities today, stem from a painful history that is ignored by a majority of our education system. To address these issues, the deficiency in the classroom must be tackled head on.
24"x16" oil paint