From top left: Wayne Thiebaud’s painting Let Them Eat Cake; Painted Bird Cake, (a real cake) by Amanda Streeter; Floor Cake by Claes Oldenburg; and couture wedding cakes. Second row: another couture wedding cake; Wedding Cake by Wayne Thiebaud; a real wedding cake by Margaret Braun; a great blog entry from Trend de la Cremé pairing runway fashion with couture cakes; Third row: cupcakes by Dozen Cupcakes; architecture as cake; and Julia Jacquette’s painting White on White (Thirty-six sections of wedding cake, swans).
I started looking at wedding cakes eight years ago for decoration ideas. It seemed an obvious reference for me as slip-trailing (squeezing liquid clay through a bulb syringe) is the clay equivalent to cake-decorating.
I’m not sure when I first came across Wayne Thiebaud’s pastry paintings from the ’60s, but I love them. If I could paint, that is the style and possibly content I would choose. I enjoy his fantastical and exaggerated use of color (hard shadows of electric pink) and style that reminds me of the vintage ads I like. The paint is thick, and somehow simultaneously gestural and precise. Some of my influences are abstract ideas, and that last sentence would be a good example of something I see [in a Thiebaud painting, for example] that I would like to emulate in my work —a feeling, a presence.
I also just like the word, cake (the title of and text on the left tile, actually). I am drawn to the sound of certain words (Who doesn’t like to say rutabaga?), especially if they can have different meanings and contexts. I don’t know where I picked this up, but I sometimes use it as an expression to mean, “exceedingly lucky”. As in, “He is in a pretty cake situation since he married a millionaire,” for example.
I chose Claus Oldenburg’s Floor Cake to show because it fits today’s theme, and because I am drawn to his sculpture and drawing for making real, hard forms soft and humorous. Both elements I look to capture in my own work.
It may or may not be obvious from the images I chose above (and from my last post below): many of my influences overlap. In these things, I see hard and soft lines, humor, form, context and content. A couture dress looks like a tiered cake which looks like a Victorian home, which could be a covered jar—or maybe that’s just me. As I’ve said before, we artists are the blenders of the disparate creating the unified.