archival pigment print of diasec mount

The images, referencing icons of contemporary sugar worship, Ostrer’s imagined result of a corrupted globalization and increasingly dangerous methods of food production, will occupy the glass facade of the gallery and spread over the ground floor. A glimpse into a post apocolyptic world which has been destroyed by mass production, we are encouraged to question the decisions that are made for us: Wotsit all about?
James Ostrer’s (England, 1979) photographs of sugar adorned subjects allude to the history of primitive art, synthetic dietary sugar intake, and an irreverent twist on the absurd in which societal practices of ingestion oscillate into a nightmarish world of abject effrontery and nutritional disillusionment.
The works are feverishly and painstakingly created tableaus with layers of sweets and foodstuffs being applied to a human subject, often the artist himself, which, when staged, are photographed and patterned for re-consumption through the distribution of photographic practice. Speaking largely on the twentieth and twenty first centuries’ dietary concerns and sugar’s uncomfortable place within this, Ostrer’s photographs conjure metaphorical allegories as Ketchup flows as tears down frosted cheeks and Kit Kats’ mouths bark back with menacing grimaces. This adornment becomes a mask of what we eat which then becomes entwined with a hyper-pop sensibility and an obsequious inquiry into the great volumes of sugar that flow through our bodies.