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21st Century Art Food

Artist Ronit Baranga’s Anatomical Tableware Creeps Across Teatime

Israeli artist Ronit Baranga creates the kind of intriguing objects future generations will look at and love. She says her work lingers on the “border between living and still life”. She adds of her anthropomorphic tableware: “The useful, passive, tableware can now be perceived as an active object, aware of itself and its surroundings – responding to it. It does not allow to be taken for granted, to be used. It decides on its own how to behave in the situation.” In shorter, Ronit’s tea party is a lot of fun – fingers and mouths used to lift and eat are looking right back at you. Tea on fine china needn’t be just for tall, blond smiling Aryans with gorgeously rounded vowels and dial-up smiles, but a sinister, creeping unnerving treat for those of you who suspect the unexpected and wonder if things bite back.

 

Unlike the active pieces on fingers, that can move freely and decide whether to participate in the layout in which they were set, my mouth pieces are static. Despite the mouths ability, in the eyes of the viewer, to open and close, bite, swallow, smile, speak, scream or remain silent, they are in fact passive. This passiveness is very threatening. Mass of vases and bowls, open and closed, each with a human mouth, a connectionless crows. This is a crowd of unrelated individuals.

Unlike the active pieces on fingers, that can move freely and decide whether to participate in the layout in which they were set, my mouth pieces are static. Despite the mouths ability, in the eyes of the viewer, to open and close, bite, swallow, smile, speak, scream or remain silent, they are in fact passive. This passiveness is very threatening. Mass of vases and bowls, open and closed, each with a human mouth, a connectionless crows. This is a crowd of unrelated individuals.

Unlike the active pieces on fingers, that can move freely and decide whether to participate in the layout in which they were set, my mouth pieces are static. Despite the mouths ability, in the eyes of the viewer, to open and close, bite, swallow, smile, speak, scream or remain silent, they are in fact passive. This passiveness is very threatening. Mass of vases and bowls, open and closed, each with a human mouth, a connectionless crows. This is a crowd of unrelated individuals. Unlike the active pieces on fingers, that can move freely and decide whether to participate in the layout in which they were set, my mouth pieces are static. Despite the mouths ability, in the eyes of the viewer, to open and close, bite, swallow, smile, speak, scream or remain silent, they are in fact passive. This passiveness is very threatening. Mass of vases and bowls, open and closed, each with a human mouth, a connectionless crows. This is a crowd of unrelated individuals.
 Unlike the active pieces on fingers, that can move freely and decide whether to participate in the layout in which they were set, my mouth pieces are static. Despite the mouths ability, in the eyes of the viewer, to open and close, bite, swallow, smile, speak, scream or remain silent, they are in fact passive. This passiveness is very threatening. Mass of vases and bowls, open and closed, each with a human mouth, a connectionless crows. This is a crowd of unrelated individuals. Ronit Baranga dishes ceramics
 Ronit Baranga dishes ceramics Ronit Baranga dishes ceramics
 Ronit Baranga dishes ceramics Ronit Baranga dishes ceramics Ronit Baranga dishes ceramics Ronit Baranga dishes ceramics
 Ronit Baranga dishes ceramics Ronit Baranga dishes ceramics

 

Via My Amp Goes to 11, Colossal

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