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Carlos Poveda's Menu
Vol. 7, No. 4 (Fall 2007), pp. 78-83
Published by: University of California Press
Stable URL: http://www.jstor.org/stable/10.1525/gfc.2007.7.4.78
Page Count: 6
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Carlos Poveda's Domestic Landscapes are linked to a history of food and art that reaches back to Greco-Roman antiquity and becomes empowered with contemporary artists who sculpt or paint their works in edible materials to be devoured by spectators. Poveda's Landscapes, however, offer food that is symbolic—inedible. He reinvents the organic by using industrial refuse that he converts, colors, and models in a cauldron in a process as akin to alchemy as to cooking. His is not a faithful transcription of meals in the style of classical still lifes, but rather an artistic overlapping of emotions, that surround the idea of the edible. Looking at his sculptures we may feel revulsion, but what sickens us is not so much his creation as the awareness it brings of our intrinsically predatory nature. He gives us an art form that not only fails to provoke appetite but also touches our deepest culinary memories and leads us back to a primal past by asserting the significance of food in our collective memory. Ultimately, our strongest reaction to his work may be the fear that we won't be able to digest the absurdity of our daily life.