2009 - 2010‎ > ‎

I LOVE CAULK FROSTING





I LOVE BIG TAN CAULK 
or
SWISS HAZELNUT SWEETNESS DELIGHT 

2010

PAINTING-SCULPTURE; SILICON CAULK 

H 120CM X W 120CM 
or
H 47-1/4IN X W 47-1/4IN 

SOLOTHURN, SWITZERLAND (CH)






 












I LOVE BIG BROWN CAULK 
or
SWISS MILK CHOCOLATE DELIGHT 

2010

PAINTING-SCULPTURE; ACRYLIC CAULK 

H 120CM X W 120CM 
or
H 47-1/4IN X W 47-1/4IN 

SOLOTHURN, SWITZERLAND (CH) 






















I LOVE BIG BLACK CAULK 
or
SWISS DARK CHOCOLATE DELIGHT 

2010

PAINTING-SCULPTURE; SILICON CAULK 

H 120CM X W 120CM 
or
H 47-1/4IN X W 47-1/4IN 

SOLOTHURN, SWITZERLAND (CH)






















I LOVE AVERAGE WHITE CAULK 
or
DINNER PLATES WITH DINNER 

2010

TRIPTYCH; PAINTING-SCULPTURE; SILICON CAULK 

H 120CM X W 180CM 
or
H 47-1/4IN X W 70-13/16IN

SOLOTHURN, SWITZERLAND (CH) 

























I LOVE EXTRA BIG WHITE CAULK 
or
2010

TRIPTYCH; PAINTING-SCULPTURE; SILICON CAULK 

H 180 CM X W 270CM 
or
H 70-13/16IN X W 106-1/4IN 
SOLOTHURN, SWITZERLAND (CH) 

























I LOVE SMALL WHITE CAULK
or
SHEEP, PIGS AND GIRLIES

2010

TRIPTYCH; PAINTING-SCULPTURE ; SILICON CAULK 

H 80CM X W 120CM 
or
H 31-1/2IN X W 47-1/4IN 

SOLOTHURN, SWITZERLAND (CH) 

























2010

TRIPTYCH; PAINTING-SCULPTURE; ACRYLIC CAULK, LATEX PAINT AND GESSO 

H 80CM X W 120CM 
or
H 31-1/2IN X W 47-1/4IN 

SOLOTHURN, SWITZERLAND (CH) 

























DIE EXPERIMENTE 

2010

SILICON CAULK, ACRYLIC CAULK, LATEX PAINT, METAL PAINT, RHINESTONE AND GLITTER ON WOODEN PANELS

H 17CM X W 17CM 
or
H 6-11/16IN X W 6-11/16IN
SOLOTHURN, SWITZERLAND (CH)

(TOP ROW, LEFT TO RIGHT): CHOCOLATE GILDED DREAMS; WINTER QUEEN; PARISIAN GREEN

(MIDDLE ROW, LEFT TO RIGHT): PORCELAIN GILDED DREAMS; WINTER ON SWAN LAKE; 
ONCE YOU GO WHITE, YOU KNOW YOUR'E RIGHT. ONCE YOU GO BLACK, YOU NEVER GO BACK

(BOTTOM ROW, LEFT TO RIGHT): WHITE AND MILK CHOCOLATE DELIGHT; ALPINE MINT CHOCOLATE DELIGHT; SNOW QUEEN












I LOVE CAULK FROSTING

2010

VIDEO

2 MIN, 46 SEC; COLOR, SOUND

SOLOTHURN, SCHWEIZ / SUISSE / SVIZZERA / SWITZERLAND










(PREVIOUS WORK BELOW) 




OCTOPUSSY 

2009

1 PANEL OF A TRIPTYCH; PAINTING-SCULPTURE; ACRYLIC CAULK, GLITTER, FAUX PEARLS AND SATIN

H 60CM X W 60CM
or
H 23-5/8IN X W 23-5/8IN 
 
BERLIN, GERMANY (DE) 






OCTOPUSSY, DETAIL #1 - FRONT VIEW 







OCTOPUSSY, DETAIL #2 - SIDE VIEW 





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I LOVE CAULK FROSTING
(CAULK pronounced as "COCK")

“As in all petit-bourgeois art, the irrepressible tendency towards extreme realism is countered ... by one of the eternal imperatives of journalism for women’s magazines ... But here, inventiveness, confined to a fairy-land reality, must be applied only to garnishings, for the genteel tendency ... precludes it from touching on the real problems concerning food (the real problem is not to have the idea of sticking cherries into a partridge, it is to have the partridge ... to pay for it).

This ornamental cookery is indeed supported by wholly mythical economics ... an openly dream- like cookery ... a cuisine of advertisement, totally magical, especially when one remembers that this magazine is widely read in small-income groups ... it is very careful not to take for granted that cooking must be economical.”^76



76. Barthes, Roland. Mythologies. New York: The Noonday Press, 1975. Print. p. 79.



QUOTES/NOTES:
ORNAMENTAL COOKERY

4.1.1: COATINGS AND ALIBIS TO DISGUISE BRUTALITY

“The ‘substantial’ category which prevails in this type of cooking is that of the smooth coating: there is an obvious endeavor to glaze surfaces, to round them off, to bury the food under the even sediment of sauces, creams, icings and jellies ... Hence a cookery which is based on coatings and alibis, and is for ever trying to extenuate and even disguise the primary nature of foodstuffs, the brutality of meat or the abruptness of sea- food.”^81

4.1.2: GENTEEL COOKERY IN COATINGS

“But, above all, coatings prepare and support one of the major developments of genteel cookery: ornamentation. Glazing, in Elle, serves as a background for unbridled beautification: chiseled mushrooms, punctuation of cherries, motifs of carved lemon, shavings of truffle, silver pastilles, arabesque of glacé fruit: the underlying coat (and this is why I call it a sediment, since the food itself becomes no more than an indeterminate bed-rock) is intended to be the page on which can be read a whole rococo cookery (there is a partiality for a pinkish colour) [sic].”^82

4.1.3: TWO CONTRADICTORY WAYS OF ORNAMENTAL COOKERY
Ornamentation proceeds in two contradictory ways ... on the one hand, feeling from nature thanks to a kind of frenzied baroque (sticking shrimps in a lemon, making a chicken look pink, serving grapefruit hot), and on the other, trying to reconstitute it through an incongruous artifice (strewing meringue mushrooms and holly leaves on a traditional log- shaped Christmas cake, replacing the heads of crayfish around the sophisticated bechamel which hides their bodies).”^83



81. Ibid., p. 78
82. Ibid., p. 78.
83. Ibid.,  p.79.