Early last week a wonderful opportunity was thrown my way. Prior to my (now ended) studies I spent a significant amount of time in Paris; it was there that I became friends with a hugely talented chef, Sam White. Four years later I discovered that he was working in the French Embassy kitchen, catering for a number of reputable guests. A gold gilded door presented itself to me, half open.
On Tuesday I peered through the door; now I want to pass through it.
The Head Chef and his team appear keen to collaborate on further experimental shoots. The focus is movement on the plate, chopping board and dish. This is a fresh and exciting project for me and one I have already embraced with open arms – and mind. How do you breathe actual life into the inanimate, into a still life image?
To better convey this intended movement the Head Chef placed in front of me his favourite book, a collection of works by Salvador Dali. After a brief fit of panic and cognitive fright, composure was fully restored and strangely enlightened. I was shown ‘Nature Morte Vivante‘, or Living Still Life. I am particularly appreciative of this extraordinary example for it has provided us, already, with the necessary conceptual foundations to begin our project. The very notion that the inanimate can be animated enthuses and excites.
All that is required of us is to pour, drop, drip and click – and of course, sweat some.
The following shots were taken over an afternoon and comprise the reasonably restrained explorative stages of the venture. After the reportage…
And now the shoot. You must forgive for me for two reasons: I am awaiting the names of the dishes and the backdrop and reflectors certainly need refining.
I am keen to get some props in the mix