Education Resource

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

Education Kit

SCAP 16 Education – Theme based analysis

The Sunshine Coast Art Prize is an exhibition showcasing the 40 selected finalists from over 600 entries in the competition.

Competition artists are free to submit 2D artworks on any theme or subject matter as the competition aims to showcase contemporary art practice.

When analysing artworks in the exhibition, dividing artworks into themes can be a useful way to explore a diverse exhibition such as the Sunshine Coast Art Prize.

The themes listed below have been selected to guide the questions and activities in SCAP 16 Education.

People People and the many things that people are connected to is often a source of inspiration for artists. Hidden – What Sometimes we need to look at artworks closely to find what the artist is saying can’t I see? in their artwork. Our World The world in which we live is also a source of ideas for artists.

Abstraction – Why do artists create abstract artworks? Sometimes if you put a little effort What do I see? into understanding the artist’s motives, you will get a better appreciation of why an artist works in a particular manner. Media – Why Artists working in contemporary practice use an ever increasing range of use that? materials and media to create artworks. It can be valuable to consider why an artist has used a particular media to create an artwork. What’s the We all love stories. Sometimes artworks tell a narrative or story that doesn’t Story? use words but visual components.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

ANDERSON, Bryce

Untitled (Physical Folds, Broken Molds) | 2015 | oil on canvas | 75 x 100 x 4cm

People: What do you think the girl in this painting is thinking? Does she look happy or sad? Why do you think there is a statue in the artwork?

ASHBY, Nick

#Heri's Studio #Jogja | 2016 | oil on canvas |144 x 111 x 3cm

What’s the Story? Make up a story about what is going on in this

artwork.

BAI, Paul

Between Me and the World (No.12) | 2016 | acrylic on wood and stretched canvas |111.5 x 120 x 4cm

Abstraction – What do I see? Look closely at this artwork, and decide where the artwork starts and where does it finish?

BANG, Min-Woo

Sky Light | 2016 | oil on linen | 122 x 152cm

Our World: Look at this painting and think of 5 words to describe how it makes you feel.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

BEETSON, Bianca Beerwah & Tibrogargan | 2015 | digital photo on metallic paper | 59 x 84cm

People: This artwork is a self-portrait, but can you see a person in the photograph? This artwork is based on aboriginal stories where nature and people are closely connected. Additional learning: Find out the Aboriginal story of the Glasshouse Mountains and think about the connection between people and mountains in Aboriginal culture.

BENNIE, Chris

The Waves (Achilles) | 2015 | digital print on board |150 x 100 x 2cm What’s the Story? Sometimes artists use artworks from other artists and another time in their artworks. This is called appropriation. Why do you think they do that? Explain what you think the artist is saying in this artwork.

BLOMBERG, Delwyn Ngapo I nāia tonu nei (Right Now) | 2015 | digital photograph on hahnemuhle rag paper | 97 x 74.5 x 3cm

What’s the Story? Look at all the objects in this lunch time photograph and make up a story about the person eating this lunch.

CADD, Jandamarra

Radiance | 2016 | oil and acrylic on canvas | 120 x 100 x 2cm

People: This artwork is by an Aboriginal artist. What can you say about how the artwork has been painted and what can you see in the artwork that links it to Aboriginal art?

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

CHANDLER, Celeste The Surface of Things 5 | 2015 | oil on linen on oval stretcher | 100 x 80 x 2cm

What’s the Story? Pretend you are the person in this artwork. What are you thinking? What are you feeling?

CLARKE, Andrew The Penultimate Fork | 2015 | oil on canvas | 100 x 150 x 5cm What’s the Story? What do you think is happening in this artwork? Imagine if the characters came to life, what would each of the people in this artwork say next?

COOK, Michael

MOTHER – Tennis | 2016 | digital photograph inkjet on photo rag | 100 x 140cm People: This artwork is part of a series of artworks under the title of MOTHER. What do you think is missing in this artwork? Additional learning: Find out about Australia’s Stolen Generation and then think about what connection this artwork might have with it.

COURTENAY, Gabrielle Looking at the Moon thinking of the Sea | 2016 | pencil, charcoal, conte-crayon, pastel, timber on plywood | 129 x 128 x 5cm

What’s the Story? Imagine you have landed on a strange planet and this artwork is the scene you see in front of you. Describe what else you see when you walk around this planet.

Additional learning: Explore Surrealist artists and what their work was about.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

FLINT, Prudence Sister | 2015 | oil on linen | 122 x 102cm

People: What is unusual about the figures in this artwork? Why do you think the artist created the artwork that way?

FRANCIS, Patrick Not titled (after Peter Paul Rubens, The Emperor Charles V) | 2015 | acrylic on paper | 56 x 38cm

What’s the Story? This artwork is based on another artwork created hundreds of years ago by a famous artist but it looks very different to the original.

Do you like to create paintings about other paintings? Is it copying? Explain why it is or isn’t.

HANKS, Rew

A Touch of Home | 2015 | linoprint |75 x 111cm

Media – Why use that? This artwork is a linoprint, which means it was created by using a cutting tool to cut away pieces of lino from a large block then printed on a printing press. Look very closely at the artwork and look for the small marks made from the cutting tool to create this work. Can you imagine how long it would have taken to create the artwork? How does the artwork look different using this technique rather than if it was a painted?

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

HAYWOOD, Charlotte Crowned Cockatrose | 2015 | textiles - army issued wool blankets, silk, urban camo, desert camo, Auscam, shoelaces, cotton, institutional sheets, polar fleece, lycra, steel rod | 140 x 91 x 5cm Media – Why use that? This artwork was created using recycled textiles such as wool blankets, cotton sheets and shoelaces. Explain why you think the artist used these items to create the artwork instead of painting the artwork?

HUDSON, Peter

Dark Cloud | 2016 | charcoal and mixed media | 122 x 132cm

Our World: This artwork has a strong environmental message. What do you think the title ‘Dark Cloud’ suggests about the message in the artwork?

McGREGOR, Laith

Ebb & Flow | 2016 | pen and pencil on paper (Framed with 4 panels) | 137 x 114 x 3.5cm People: This artwork was created with a pen and includes ideas and thoughts the artist had while creating the artwork. Do you like to doodle? What do you think happens when you are doodling on a piece of paper? Are you surprised by what you draw?

MILLS, Jennifer

In the echo chamber (11:11) | 2015 | watercolour, gouache, ink, pencil on paper | 82 x 110cm

People: Do you like to look at photos of you or family members from the past? What things do you think about when you do this?

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

MOORE, Robert Eastern Yellow Robin and Geebung | 2015 | oil and enamel on board | 65 x 65 x 3cm

Abstraction – What do I see? Can you see the bird in this artwork? What makes this painting about birds and the landscape different from a photograph of the same topic?

MOSTERT, Deb

'We travel a lot so collecting these made sense' Bartailed Godwit Vintage Airline bags | 2015 | watercolour | 78 x 63 x 2cm What’s the Story? This artist is having some fun with the idea of birds collecting things while traveling. Do you like to travel? Have you collected souvenirs from when you travel?

Have you ever thought about birds that travel long distances every year? Why do they travel?

REYNOLDS, Genevieve Felix

Origin| 2015 |oil and acrylic on aluminium composite panel | 100 x 100 x 7.5cm

Abstraction – What do I see? Look closely at this artwork, explain what you see and decide what you think it’s about.

RILEY, Dasha Dancer in Blue | 2016 | digital photograph | 140 x 74.7 x 0.45cm People: This artist is exploring the things you dream about when you are a child. What do you dream about?

Additional activity: Create an artwork about your dreams.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

SCOUFOS, Samuel Portrait of a Greek man and son | 2015 | giclee print | 100 x 80 x 5cm

People: Have a close look and describe what’s funny about this photograph? Why do you think the artist did this?

SERISIER, Camille Ken Done it #6 | 2014 | giclee print on rag matte paper | 80 x 110cm Our World: This artwork is about the Australian landscape. What things can you see that make it Australian? How is the artwork different to the way the Australian landscape is usually depicted?

SHARPE, Wendy Taylors Square | 2014 | oil on canvas |125 x 100cm People: This artwork is about places the artist has visited at night. What makes this painting stand out? Think about 5 words that would describe this artwork.

SMITH, Tania

Untitled (home) #3 | 2015 | pigment print on archival paper | 95 x 125 x 5cm

Hidden – What can’t I see? Often artworks are about people or places. What do you think this artwork is about? Think about what stands out in the artwork to help you decide. Why do you think the artist has created an artwork about this topic?

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

TANG, Cyrus 7403.00s | 2016 | archival giclee print | 90 x 90cm

What’s the Story? This artwork is very blurry. Look closely at the image. What does it look like and why do you think the artist has created the work like this?

THOMPSON, Julian Nothing to See Here - the Triumph of the Shroud | 2016 | oil on linen | 109 x 137 x 4cm Hidden – What can’t I see? What do you think is behind the fabric? What does that mean when things are covered?

WILLING, Elizabeth Flesh | 2015 | Collage of all the images from the book Fleisch-und Aufschnittplatten:meister prasentiert | 70 x 92cm Abstraction – What do I see? This artwork is a collage of images of food. When you first looked at the artwork, did you see food? Experiment with cutting up photographs of the one thing from a magazine and create a collage of something else.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

SUNSHINE COAST ART PRIZE 2016 ARTIST STATEMENTS Bryce ANDERSON The painting Untitled (Physical Folds, Broken Molds) portrays a young woman gazing outside of the picture plain, distracted or fixated on what the terrain within the painting may suggest, this stillness and coy expression as her hands lay wayside is juxtaposed with an image of a bronze statue by Bertram Mackennal (The Dancer, 1904). The contrast between these subjects suggests the interest and importance of Historical Australian art and its influences on the modern day. The detachment of the figure from the landscape also suggests my interest in memory and how the familiar terrain of Northern New South Wales is projected into the back of my subconscious.

Nick ASHBY Photography has played an important role in my recent paintings. I am particularly interested in the way that the documentary qualities of photography can evoke narratives through memory and imagination. The painting #Heri’s Studio#Jogja is comprised of a couple of figures that are a combination of moulds for making sculptures and parts of sculptures surrounded by building materials and detritus. This temporary arrangement was located in an enclosed yard behind Heri Dono’s studio buildings in Jogjakarta.

Paul BAI This work intends to demonstrate a third option beyond the physical and conceptual spatial dualisms within painting practice. As the paint passes through the attached frame and canvas support, the painting space is integrated with the immediate space in front of the canvas, a spatial context that is open and external to the monochrome painting. Hence, the physical and conceptual representations of the painted space are juxtaposed with a third spatial instance, which is indeterminate and temporal. The title of the work suggests the tentative gap between the often dialectically interpreted world and one’s independent existence, in this instance the space between viewer and the painting.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

Min-Woo BANG I paint both the subtlety of the Australian landscape as well as its brutality. My intention is to portray captured moments in time, allowing the viewer to have an emotional connectedness with my work. Thin layers of paint, like the layering of time, build surfaces that give land and clouds form and meaning. It is a representation of meditation on landscape with my personal response.

Bianca BEETSON This is a self-portrait, which pays homage to Kabi Kabi sacred sites Mt Tibrogargan (the Father) and Mt Beerwah (the Mother) and shows the importance of their eternal connection. The image shows the the connection of Aboriginal people to their sacred sites.

Chris BENNIE In The Waves series I have appropriated images of waves from popular surfing magazines, omitting the surfer in favour of a straightforward depiction of water. In their place representations of classical characters (or deities) sit conspicuously aplomb a mobile device. Achilles, Apollo, Krishna, Gilgamesh and Enkidu protrude from the images in the series; staring down the face of waves or up at its crest. The ability to swipe a mobile device places the project in a contemporary context, while the dialectic between water (its power and destructive potential) and mythology grounds the project in a classic framework.

Delwyn BLOMBERG I was in New Zealand in 2015 at my sister’s home. My brother in law was busy taking food and utensils from the kitchen to a wheelbarrow parked outside. Intrigued, I followed and found him sitting in the middle of his garage. The radio was tuned to the races, he had a newspaper to read and his seat was parked in front of the wheelbarrow of cooked fish heads, bread and butter, and cup of tea. Having caught the fish a few days earlier he had just mowed the lawns and this was his lunch. This still life considers autobiographical memory and reflects contemporary Maori culture in relation to kai (food).

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

Jandamarra CADD Just as the vibrant colours of this ancient land can be breathtakingly beautiful, equally is the innocent radiance of its youth. I've chosen to apply the traditional technique to this portrait to convey the connection our culture has to the land and its elements. The cools of the waterholes and river systems, waterfalls and lakes, in complete balance with the warm sun, red dirt, mountains and rocks. This is our wholeness, our equilibrium, our balance. This is our Radiance.

Celeste CHANDLER Using the conventions of portraiture and echoing the cameo, this painting is about how we exist as though peering out from our head. From this unseen space of thought, emotion and sensation we project out into the world and the face becomes a verge or portal. Smothering the head in cream emphasizes this threshold; framing the orifices of eyes, nose and mouth intensifies the bodily sensations. The cream reveals and conceals, it sits on the face like paint sits on the canvas, covering a membrane whist it beckons us into a deeper space beyond the surface.

Andrew CLARKE My practice is concerned with a reinvestigation of ‘Grand Narrative’ in painting. I seek to reinvent this tradition to reflect my experience of the times in which I live. My work acknowledges painting’s limitations, and denies the heroic aspirations of classical narrative painting. It affirms, however, and utilises certain historical ideas with regard to how pictures can be built. I am interested in creating paintings which acknowledge themselves as constructions. Paintings which indulge in the illusory solidity of imaginary space. I present scenarios that are obviously staged, despite their attempts to invoke the spontaneous. The moments depicted are of banality and boredom, dramatised and at a monumental scale.

Michael COOK Mother is a journey through 13 images of a woman in a deserted Australian landscape. The mother is always alone, her baby absent, although evidence remains of there having been a child: the empty pram, the abandoned toys on the hopscotch court, the slackness of the skipping rope. These images possess an arrested stillness that implies a recently bereft status.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

Michael Cook has tackled subjects from the political to the historical since he turned to creating art imagery in 2009. In Mother, we see his most intensely personal work to date. While these images speak directly and poetically to Australia’s Stolen Generation, they speak also to a universal experience of disconnection between mother and child.

Gabrielle COURTENAY I mix fantasy with reality, juxtaposing imagery with metaphors of collective and personal memory creating multi-layered visual narratives that explore themes of memory, myth, the feminine, culture, power and emotion. In working on this emotive mythical vanitas, the drawing materials spontaneously merged into the grains of this recycled plywood panel to form the mountain-islands, sea-skies of this dream space. The title references the Hindu concept of the cyclical nature of the universe and everything in it. At the end of one cosmos, a large golden egg will appear with all life forms in it, as the world drowns it will flow safely on the waters of the boundless cosmic sea.

Prudence FLINT In Sister I set out to explore an open-ended broken narrative, with an embodied presence of two nude figures. I wanted the atmosphere to be an uneasy intimacy and physicality within an interior dreamscape room.

Patrick FRANCIS A prolific painter, Francis works primarily in acrylic on paper. His paintings draw from his own personal experiences, from first hand encounters with Melbourne to his knowledge of popular culture and art history. Using a bold colour palette, Francis’s paintings are refined, expressive representations of portraiture and still life. His work ranges from studies of well-known celebrities and icons, from Marilyn Monroe to the fifteenth century Italian Renaissance author Baldassare Castiglione, to observations from everyday life. Francis has also interpreted the work of iconic Australian painters including Sidney Nolan’s early Ned Kelly series.

Rew HANKS In 1859 a wealthy squatter from Geelong Thomas Austin imported 24 wild rabbits from England. Austin declared “The introduction of a few rabbits might provide a spot of hunting and a touch of home”.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

By 1880 the rabbit population in Australia had proliferated to over 1 billion. This coincided with the first royal visit to Australia by Prince Alfred who joined Austin on his estate Barwon Park where they slaughtered hundreds of rabbits. Later while visiting Sydney Prince Alfred was shot in the back during a failed assassination attempt. The introduction of rabbits causes a $500 million per annum loss to primary production.

Charlotte HAYWOOD Charlotte Haywood has a multi-disciplinary approach that centres on explorations of tensions between nature and culture, and pop and the primordial. Haywood demonstrates a sensibility for connections between the traditional and the modern, exploring cross-cultural pollination. Her work examines various forms of communication; technology, symbol, language, song and gestures of the body. Here in CROWNED COCKATROSE, the Crowned Rose of Britain, the cardinal points of navigation, the naturalised poplar tree, and an ancient mythological beast that would die instantly if it looked itself in the mirror are embodied within the work. Haywood interrogates Australian history in hope of a shared history using symbols in the landscape as metaphor.

Peter HUDSON Landscape painters eventually come to the realisation that nature is perfect. When something is perfect, then surely it is sacred. Sadly nature is not treated with the veneration it deserves. All of man’s killing of animals, land, and environment will work against him and must stall his evolution. My painting, ‘Dark Cloud’ is part of a series of work based on the man-made, and natural events that are threatening the life of the very highly sacred, Great Barrier Reef.

Laith McGREGOR Fiction is an underlying basis in my method of relating ideas and applications. By drawing on and highlighting the treatment of fiction, I’m able to convey thoughts on the conscious/unconscious and the grey area in-between. The continual slippage between the two realities form a coherent narrative, which is not only subjective but simultaneously objective, where one persons idea of the work in question can be as important as the next and in my opinion, as important as my own reflection of the work. I invite the audience to delve into my inner thoughts as I completed the self-

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE portrait. Notes, ideas, ramblings are recorded and surround the portrait to give the viewer an insight into the artists mind.

Jennifer MILLS This work is part of an ongoing study of my identity through drawing. There are certain points in my personal history that draw me back and reverberate into the present. Whether I look at myself as a child in a school photograph, or in this instance, at someone else, in her school photograph. I connect with the person I was then, and the one I am now. In no particular chronology, memories flood over the image, anchored by a conspiratorial point in time…11:11.

Robert MOORE I enjoy living and painting in the Australian landscape. My studio practice and environment provide me with many opportunities to paint both the broad and intimate landscape that I inhabit. I am fortunate to have many daily bird visitors. I try to capture their beauty, character and the subtleties of their natural environment.

Deb MOSTERT The idea of a migratory bird burdening itself with a collection of vintage airline bags is ridiculous. But then so is the thought that a migratory bird should not be allowed to make a journey with all its meagre possessions from its land to another land, so it can raise its young in safety.

Genevieve Felix REYNOLDS Faced with the digital abstraction of contemporary society, I respond with the abstraction of space in an exploration of the impact of contemporary technologies on painting. The mythos of classical art anchors my image making; contrasting the weight of historic architectural forms against efficient, reproducible technologies and the pleasure-seeking immediacy of our post-internet generation. Abstractions of artefacts are framed as objects of new idolisation. Refreshed and disembodied in paint, they simultaneously crave and mock a slower, simpler era. Through geometry and installation this painting is integrated into its environment, creating a dialogue between the objectified forms within the constraints of the canvas and a broader, implied field of space.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

Dasha RILEY The content of my images is based on personal dreams and visions, with narratives touching on themes of European heritage, solitude, the otherworldly, and awareness of our connection to spirit. The main protagonist in my work is my daughter Julia - then again I see my images as self-portraits, responding to my childhood dreams and memories, and inviting others to experience and revive their personal associations with this powerful period in our lives. Underwater portraiture engenders an innate gracefulness and awareness of our natural state. The way the fabric, water and light interacted in this image is reminiscent of the playfulness of Edgar Degas’ dancers.

Sam SCOUFOS This is a portrait of Brisbane writer/director Stephen Kanaris and his son. Born to an English mother and a Greek father in the 1970’s, he is one of eight children. A child at heart, he struggles with the push and pull between leading a creative life, getting older and the doldrums of day-to-day routines. For myself, this image represents on a wider level, one’s own battle with growing up, getting older, becoming burdened with responsibility and the constant, ongoing yearning to replay aspects of our youth.

Camille SERISIER ‘Ken Done it! #6’ comments on the history of Australian landscape. The work is part of the ‘The Wonderful Land of Oz’ series, which articulates a critical reading of the Australian landscape as it is presented in tourism destination shots. Employing scenic painting techniques the life-size set is occupied by real performer acting out contemporary and colonial narratives. With a storybook aesthetic, this photograph a present pristine vista, reimagined with reference to personal, political and historical issues. The works play with reality and illusion in a way that hints at a level of contrivance and obfuscation.

Wendy SHARPE This painting is part of a recent series of work about night and how it transforms things. I explored this theme in many ways, sometimes with dreamed or imagined figures and sometimes based on something from experience. This work comes from walking around Sydney's Darlinghurst and Kings Cross late at night. I made several

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE paintings about the groups of young women who crowd the street some of these images relate to German expressionist paintings of urban life.

Tania SMITH The Untitled (home) series was developed in early 2015 in Bangkok, Thailand at the Poh Chang Academy of the Arts. The academy is a large, formal building, surrounded by a network of temporary tarpaulin housing used by construction workers and cleaning staff at the academy. I wanted to honour this hard-working material and I embellished it with sequins as a gesture of my respect. The performances wearing the tarpaulin costume were intended to foreground this material that exists only to support buildings, or people. This work was made possible with kind thanks to all the workers, academic staff and students of Poh Chang Academy of the Arts, Bangkok, Thailand.

Cyrus TANG I seek to portray absence as a presence, to reconstruct ephemeral mental states and sensations in permanent images. I am moved by the collateral damage of man-made wars like the current Syrian War that has given rise to mass migration and homelessness, as well as catastrophic natural disasters, such as the 2015 Nepal Earthquake. In this photographic series, I make models of a city that I then destroy by drowning over and over again as if by earthquake, war or tsunami. I document the process of city from presence to absence by using long exposure technique. Each photographs titled by the long exposure time of a city collapsed into nothing.

Julian THOMPSON Conflict is the singularity holding history to its orbit. Military history is often neatly categorised into honour, barbarism, depravity or valour, although it is the messy reality that war usually demands the simultaneous expression of all of these. Whilst history is written by the victors it’s distortions, embellishments or faithful recounting, proffered in hindsight, belie that the lived experience of its’ protagonists is the truly honest measure of war. How apt then that the war machine strives to achieve invisibility, both outwardly as shrouded machines become the very landscape itself and inwardly by creating a space for the words and visions of those who would inspire us to greater sacrifice.

SUNSHINE COAST ART PRIZE 2016 CALOUNDRA REGIONAL GALLERY EDUCATION RESOURCE

Elizabeth WILLING My practice explores personal, local, and international food cultures; their origins and eccentricities. Flesh was made while on residence in Germany, the title references the German translation for meat, fleisch. The images are cut from a book of masterfully presented, award winning meat platters. The rolled meats intertwine in waves while garnishes feature as focus points for the work, the craftsmanship of which is polluted by their garishness. Celebrating and remaining sceptical of the imagery, Flesh amplifies the ridiculousness, beauty, and comedy of artful meat platter display.