The Folklore Contracting Company offered me the opportunity to cook for 60 young hungry people every day for 3 month. They would provide a fully equipped kitchen on wheels and with an edible material budget renewed every 5 days. The only restrictions were nutritioness and well-built meals. That was an exciting opportunity for culinary creativity. Another advantage of this residency was the need for repetition, leading to the desired result of creation.
This culinary workshop was moving accross the northern forests of Western Canada. Silence and free time were both helpful for creation. This situation was a perfect exemple of Art being Life and Life is Art, as the artist was hired for the official cook position.
The eaters had a series of international dishes and conceptual menus. As this participative public did not have a background in the art field and were mostly not aware of participating to an artwork, the level of transformation of social codes was reduced. By respect for those eating my daily artworks, the percentage of sociological revolution had to be digestible. That means the food had to keep its well-known reassuring side. The creativity was mostly expressed in the choice of ingredients, surprising in such an isolated site, in the menu design and sometimes in the way of delivering the food to the plates.
This residency started every day at 4am and ended every night at 9-10pm with an afternoon break. It was an intensive program but the capacity to enter the creative zone became easier and easier as the weeks passed. A perfect balance between responsabilities and emancipation.
Delicious and surprising, but not too weird were the creation in the first part of the residency.
Menu designs and renaming well-known dishes increased slowly with time.