Purcărete’s performance creates images abounding in gastric or sexual lasciviousness. Elastic and consistent, as the dough battered by men – it is an interesting thing the adoption of this specific feminine gesture by the masculine records, where the tragedy of devouring actually consumes, in a ludic-parodic key. The genital organs are being hit with the voluptuously battered dough.
If the dilated eye was the element that visually represented the fantastic in Pilaffs and Mule Scent, here, the over-dimensioned lips could be the best image for this continuous mastication. The appetite is doubled through bodies without identity who celebrate a carnival-like banquet, where everything gets lost in the great anonymity of the celebration. The performance is digested between the two moments that close the menu’s cycle: the dissected body from which hypertrophic organs come out, flooding a world that lives by eating and the one covered in dough, instantaneously baked and frenetically enjoyed.
Pantagruel’s Sister-In-Law, overweight and delighted by the feast. From up above, a rain of spoons, a culinary arrangement of the space. The absorbed objectuality of the set: table, glass, plates etc. In short, Bon Appetit!
(Mihaela Michailov)
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