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Open a larger version of the following image in a popup: Subashri Sankarasubramanian, Qu'ils mangent de la brioche IV, 2020

Subashri Sankarasubramanian Indian, b. 1998

Qu'ils mangent de la brioche IV, 2020
Limited edition glicee print (Photography of Performance)
29.7 cm x 42 cm
Subashri Sankarasubramanian, Qu'ils mangent de la brioche IV, 2020
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This collection of four photographs presented as a part of an installation, examines accessibility and the perceived autonomy of people over their consumption habits. The photographs are of a site-specific installation created in the artist’s own kitchen, and exposed to one of the most intimate spaces of modern homes. This near-voyeuristic documentation showcases several layers of ideas within a humble HDB kitchen covered with dough. It acts as a display of the veiled reluctance that is shown by the artist’s family in their forced interaction with the dough-covered floor, as is apparent in the way the footprints are seen in the photographs. It suggests the possibility of a complete process, i.e., a loaf of bread made with fresh kneaded dough, while in actuality, the dough is used as a metaphor for the lack of accessibility, despite the ever-increasing access to ingredients from around the world. The immense quantities of fresh dough spread upon the floor mocks the audience, referencing a line from the famous poem by Samuel T Coleridge, “The Rime of the Ancient Mariner”, which goes thus, “Water, water, everywhere, Nor any drop to drink”, questioning the notions of scarcity and availability.
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This collection of four photographs presented as a part of an installation, examines accessibility and the perceived autonomy of people over their consumption habits. The photographs are of a site-specific installation created in the artist’s own kitchen, and exposed to one of the most intimate spaces of modern homes. This near-voyeuristic documentation showcases several layers of ideas within a humble HDB kitchen covered with dough. It acts as a display of the veiled reluctance that is shown by the artist’s family in their forced interaction with the dough-covered floor, as is apparent in the way the footprints are seen in the photographs. It suggests the possibility of a complete process, i.e., a loaf of bread made with fresh kneaded dough, while in actuality, the dough is used as a metaphor for the lack of accessibility, despite the ever-increasing access to ingredients from around the world. The immense quantities of fresh dough spread upon the floor mocks the audience, referencing a line from the famous poem by Samuel T Coleridge, “The Rime of the Ancient Mariner”, which goes thus, “Water, water, everywhere, Nor any drop to drink”, questioning the notions of scarcity and availability.

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