The fetishisation of food has become a hugely important aspect of my practice. The playful and flirtatious nature of eating on camera for an audience to document the sexualised reactions has developed from paintings of a “sexual” emoji fruit machine into a grotesque representation of the female body as an object to be consumed, mainly using performance and film. I have challenged the use of fruit emojis as representations of the female body, such as cherries and peaches, and created a series of films documenting my transformation into these specific fruits, which have been inspired by ORLAN’s body modifications.
These are shown through projections of my body going through these failing transformations. I have used a combination of marzipan for its fleshy consistency, and fruit for a grotesque and bloodied effect to make cherry breasts and peachy bums and used the left-overs of these performances as pieces in their own right. These pieces are displayed as relief objects to project my films onto and morph my body further, emphasising the transformations.
My work shines a light on the new era of impossible body ideals, where online dating has developed its own sexual language through imagery rather than words, and questions why exactly it is predominantly aimed at women’s bodies.
Mae ffetisheiddio bwyd wedi dod yn agwedd hynod bwysig ar fy ymarfer. Mae natur chwareus a phryfoclyd bwyta ar gamera er mwyn i gynulleidfa gofnodi’r adweithiau rhywiol wedi datblygu o baentiadau o emoji peiriant ffrwythau “rhywiol” i fod yn gynrychiolaeth wrthun o’r corff benywaidd fel gwrthrych i’w ddefnyddio, gan ddefnyddio perfformiad a ffilm yn bennaf. Dwi wedi herio’r defnydd o emojis ffrwythau i gynrychioli’r corff benywaidd, fel ceirios ac eirin gwlanog, ac wedi creu cyfres o ffilmiau’n cofnodi fy nhrawsnewidiad i’r ffrwythau arbennig hyn, sydd wedi’u hysbrydoli gan addasiadau corff ORLAN.
Fe’u dangosir drwy dafluniadau o’m corff yn mynd drwy’r trawsffurfiadau hyn sy’n methu. Dwi wedi defnyddio cyfuniad o farsipán ar gyfer ei ansawdd cnawdog, a ffrwythau i greu effaith wrthun a gwaedlyd i wneud bronnau ceirios a thinau eirin gwlanog a defnyddio gweddillion y perfformiadau hyn fel darnau yn eu rhinwedd eu hunain. Mae’r darnau hyn yn cael eu harddangos fel gwrthrychau cerfweddol i daflunio fy ffilmiau arnyn nhw a morffio fy nghorff ymhellach, gan bwysleisio’r trawsnewidiadau.
Mae fy ngwaith yn taflu goleuni ar oes newydd o ddelfrydau corff amhosib, lle mae chwilio am gymar ar-lein wedi datblygu ei iaith rywiol ei hun trwy ddelweddau yn hytrach na geiriau, ac mae’n cwestiynu pam yn union y mae’n targedu cyrff menywod yn bennaf.
