The Folklore Contracting company offered the artist the opportunity to cook for 60 young hungry people everyday for 3 month long. They would provide a fully-equiped kitchen on wheels and renew an edible material budget every 5 days. The only restrictions to the artist-cook 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 under the official cook position.
Description of the residency projects
The eaters had a serie 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 daily artworks by the artist, the pourcentage 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 isolate site, in the menu designs and sometimes in the way of delivering the food to the plates.
This residency started everyday 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.