Looking at an original Rothko painting is something of a surreal experience. You take in the color, the blocky shapes, and the nuance. The only thing that could make it better? Food, obviously.
Genius artist and photographer Beth Galton, whom we’ve previously featured for her stills of foods cut in half, agrees. Along with partner Charlotte Omnès, Galton is redefining the line between food and contemporary art with her new series The Series of Texture.
We caught up with Galton and asked her our most pressing questions about her creative process. Check out Galton’s responses below, then click through the gallery to view photos from The Series of Texture.
What is it about food and art that interests you?
I have always loved both. I started as an art major in college with an emphasis in photography but took classes in many different disciplines exposing me to the world of art. Food I discovered in high school when my stepmother, who is an amazing cook, came into my life. While working as a commercial photographer shooting different food products, it struck me that it would be interesting to explore food more as art, rather than just as something good to eat. That’s what lead us to the cut food series.
If you were stranded on a desert island with one artist, who would you pick and why?
This is such a difficult question. My first thought was Cezanne. I love his still lifes, but what has always stuck in my mind was his tenacity. It took him a long time for his work to be accepted and shown yet he continued to paint his vision in spite of these obstacles. My other choice would be Irving Penn. His imagery is so simple yet complex. I’ve always been inspired by his still lifes.
Give us a rundown of an average day in the studio.
There is never an average day, to be honest. It can range from estimating and prepping for a job, spending the day with a crew of people shooting what the client would like, working on the website, mailers, and most of all thinking about what photos I would like to take.
What camera do you shoot with?
I shoot with a 4 x 5 Sinar, sliding back with a P45 Phase 1 digital back.