Coming soon ...

Preparatory material from The Pied Auteur and Me (working title) [not yet made], Film still from The Gleaners and I with inserted conjoined cherry photo + photo of glazed Cernit oven-baked conjoined cherries and painted wire stems, jpeg, part 6/6 of The Realist Manifesto.

Agnes Varda’s documentary film The Gleaners and I (2000) is the inspiration for The Pied Auteur and Me (working title). Finally, a woman -- and a filmmaker to boot -- enters The Realist Manifesto. Varda is a citizen of the world and a Realist truly in the tradition of Courbet. Her artful realism happens because the people, objects, and ideas she encounters are not merely her subjects, but her muses—and she follows their lead. Her artful living (and seeing) is what led to the discovery (and eventual collection) of heart-shaped potatoes in the film The Gleaners and I. It is a wonderful thing to witness these serendipitous events through her lens (and on the big screen). These potatoes also served as an inspiration for one of Varda's first art installations which was part of Utopia Station at the Venice Biennial in 2003.

Last summer, I bought some cherries from our corner fruit vendor and they all turned out to be conjoined twins, resembling hearts (more like the organ than the symbol). I immediately thought of Varda and her potatoes and knew I had to make her a heart-shaped cherry pie filled with heart-shaped cherries.

A picnic basket sits at a table's edge with a to-do list. A peek inside the picnic basket (hand-made from cherrywood strips) reveals a heart-shaped ceramic cherry pie with lattice topping. The pie—nestled in the basket—sits on a striped fabric bed with two gold forks and a small addressed envelope. Next to the basket is a white porcelain bowl and white enamel colander half-filled with the heart-shaped porcelain cherries. The last entry on the heavily crossed-out to-do list is "Hand deliver pie to Mme Varda."

Needless to say, feminism and domestic work have always been intertwined. A bit like a film set of a farm kitchen, this installation focuses on the creative possibilities of the table and mixes leisure and pleasure with sweat and grit. The pie and the picnic basket conjure Manet's middle-class Luncheon on the Grass (1863) and Seurat's A Sunday Afternoon on the Island of La Grande Jatte (1884) -- both Impressionist images that owe their real world piquancy to the battle-ram of Courbet's revolutionary Realism.

The artist Stephen Prina once said to me in reference to me having an in-house studio, "All of my most important work has been made on a kitchen table!"