She's so sweet and so much more: the cookbook as artist's manual

Doran, B

She's so sweet and so much more: the cookbook as artist's manual

Doran, B

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Publisher:: TEXT Journal
Publication Type:: Journal Article
Citation:: TEXT, 2013, Number 24, (October 2013), pp. 1-14
Issue Date:: 2013-10

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Field	Value	Language
dc.contributor.author	Doran, B https://orcid.org/0000-0003-3951-4546
dc.date.accessioned	2025-01-31T05:29:20Z
dc.date.available	2025-01-31T05:29:20Z
dc.date.issued	2013-10
dc.identifier.citation	TEXT, 2013, Number 24, (October 2013), pp. 1-14
dc.identifier.issn	1327-9556
dc.identifier.issn	1327-9556
dc.identifier.uri	http://hdl.handle.net/10453/184751
dc.description.abstract	Food, for me, has always been a primary alchemical medium. It connects us to kin, shapes identities and morphs our bodies as they intersect with other ecosystems. Food gives flesh to our existence. It can be beautiful, grotesque and is fundamentally visceral. It is for these reasons that I have been drawn to food in making art while exploring the shifting grounds of the myths we live by. I am interested in elevating our sensing body’s voice since western culture has contributed much to its subjugation. We know this through critical discourse but perhaps more potent are our bodies memories and metaphors for living arising from home and hearth. Our pantries offer a palette of possibilities and cookbooks set guidelines for chemical transformations, guiding visual and sculptural presentation, appropriate social relations, spatial organization, connections to heritage and global location. Much of my research pivots around recipe books and food magazines because they are rich in ‘narratives’ for material metamorphosis along with performances of place and identity. In particular, I seek embodied qualities embedded in food symbolism – those unconscious experiences residing in our cells and stored there, because we have eaten. In this paper, I will discuss these dynamics through a body of photographic works, She’s so sweet, where I explored motherhood and dilemmas of being a contemporary female with materials from the kitchen and pantry.
dc.language	en
dc.publisher	TEXT Journal
dc.relation.ispartof	TEXT
dc.relation.isbasedon	10.52086/001c.28287
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject	1904 Performing Arts and Creative Writing
dc.subject.classification	3602 Creative and professional writing
dc.subject.classification	3901 Curriculum and pedagogy
dc.subject.classification	4705 Literary studies
dc.title	She's so sweet and so much more: the cookbook as artist's manual
dc.type	Journal Article
utslib.citation.volume	Number 24
utslib.location.activity	Australia
utslib.for	1904 Performing Arts and Creative Writing
pubs.organisational-group	University of Technology Sydney
pubs.organisational-group	University of Technology Sydney/Provost
pubs.organisational-group	University of Technology Sydney/Provost/TD School
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2025-01-31T05:29:19Z
pubs.issue	October 2013
pubs.publication-status	Published online
pubs.volume	Number 24
utslib.citation.issue	October 2013

Abstract:

Food, for me, has always been a primary alchemical medium. It connects us to kin, shapes identities and morphs our bodies as they intersect with other ecosystems. Food gives flesh to our existence. It can be beautiful, grotesque and is fundamentally visceral. It is for these reasons that I have been drawn to food in making art while exploring the shifting grounds of the myths we live by. I am interested in elevating our sensing body’s voice since western culture has contributed much to its subjugation. We know this through critical discourse but perhaps more potent are our bodies memories and metaphors for living arising from home and hearth. Our pantries offer a palette of possibilities and cookbooks set guidelines for chemical transformations, guiding visual and sculptural presentation, appropriate social relations, spatial organization, connections to heritage and global location. Much of my research pivots around recipe books and food magazines because they are rich in ‘narratives’ for material metamorphosis along with performances of place and identity. In particular, I seek embodied qualities embedded in food symbolism – those unconscious experiences residing in our cells and stored there, because we have eaten. In this paper, I will discuss these dynamics through a body of photographic works, She’s so sweet, where I explored motherhood and dilemmas of being a contemporary female with materials from the kitchen and pantry.

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http://hdl.handle.net/10453/184751