Art Gallery

Ode to Breakfast by Chloe Graffeo

On Being a Guest, and Dumpling Evenings by Leo Racicot

Illustrations and Animation by Alix Marson

Paintings by Malina Syvoravong

Nasturtium in the Kitchen by Cynthia Staples

Watercolors by Sara Zin

Food (De)fetishized by Kelsey Hatch

Fair Trade, Paintings by Allen Forrest

Illustrations by Reneé Leigh Stephenson

Collage by Lisa Mase

Paintings by Allen Forrest

Two Images by Betsy DiJulio

Photography by Aaron Graubart

Patterns by Nicole Sczesny

Jiaozi by Julian Jackson

Fruit Basket by Giuseppe Arcimboldo

Natural Intelligence by Besty DiJulio

"Andes" by Claire Ibarra

"America" by Claire Ibarra

Artwork by Danielle Boodoo-Fortuné

Photography by Bill Brady

Finger Painting by Tammy Ruggles

Artwork by Betsy DiJulio

Food Illustrations by Jessie Kanelos Weiner

Vegetable Papyrus by I. Batsheva

Photographs by Louise Fabiani

Photographs by Martha Clarkson and Jim Carpenter

Food Stylings by Jessie Kanelos Weiner

Eating Alone by Jeannette Ferrary

Illustrations by Tom Bingham

Schiciatta d'Uva by LeAnne Thomas

The Four Seasons by Giuseppe Arcimboldo

Epicurious Potato Heads by Natasha Bacca

Paintings by Cynthia Tollefsrud

Photographs by Eleanor Bennett

Illustrations by Brooke Albrecht

Photographs by Cynthia Staples

Mutatoes by Uli Westphal

Alice Brock

Damon Belanger

Louis Dunn

Stéphanie Kilgast

Mark Kurlansky

Marilyn Murphy

Nina Talbot

Photography

by Bill Brady

By way of introduction to these wonderful photos, Bill writes:

A commercial food photographers job is to make food look appetizing for camera. Because of all the shoots I do, my refrigerator and cabinets get pretty full. One day, I was emptying out the kitchen in my studio. As I was wheeling out a 33 gallon garbage can filled with condiments, sauces and other food stuff, inspiration struck. What if I deconstructed my food photography? What If I used condiments as paint, and plexiglass as canvas? What would it yield?

The first result result was reminiscent of Jackson Pollock. What made Pollock's art interesting were the particulates embedded into the artwork. Rather than nuts and bolts and twigs, I embedded pasta, nuts and other food objects and discovered I was onto something. Revisiting the the idea over several sessions, what started out as random mash-ups began to take a different shape.The work evolved. It went from a chaotic mixture of objects driven by only colors, to a more controlled use of placement. I began experimenting with placing objects more carefully and using blacks as negative space.

What makes this series so much fun it that it flies in opposition to my commercial work. I meticulously create mouth-watering images for my clients. With these pieces, I am able to reduce foodstuff to it's lowest common denominator, deconstruct colors and textures, and allow myself a freedom not found within commercial work.

The final images are large-scale, about 55 inches long. Viewed on that scale, the detail of the food can be best appreciated.

You can see more of Bill's work at his website.

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork

Brady's artwork