MASLEN & MEHRA

Introduction + texts
Exhibitions/Projects
Upcoming Projects
Photography
Installations
Sculpture
Press Publications & Essays

CV

Drawings
Contact
Links
VOID
Contemporary Artspace
London 1997-2000
History

Food Futures

 
NEXT  

Food Futures is based on a plate held in the collection of the Victoria & Albert Museum London. The statement Waste Not Want Not and the wheat design exist on the original plate. Imagery of grains such as corn, barley and rice and at the centre a reference to a roulette wheel are introduced. This piece highlights ethical issues concerning the commodification of food staples and the potential for market profiteering. Is it right to gamble and profit when losers will be denied access to basic food due to soaring costs? This couldn’t be a more timely subject as droughts in the US and wet weather in Europe in 2012 are set to cause wheat prices to soar. Who will be the winners and losers?

Cash, Clash & Climate - MASLEN & MEHRA


All the sculptures in this series are hand-made by Maslen & Mehra using wire, paper-mâché and decoupage. Cash: For this collection the works explore bailouts, credit culture, money made from war, tampon tax, housing bubbles, natural capital, the commodification of food staples and the almost religious status that money has reached in our times. Clash: Social unrest from Istanbul to Athens, the use of social media to organize protests, the charged debate concerning gun control and gun rights in the US and even the London riots of 2011 feature. Climate: This theme loosely covers environmental topics such as chronic pollution as a heavy cost for economic power in China, melting ice caps, the opposing views of climate change, the legacy of radiation from Japans nuclear disaster and the untimely death of a sperm whale in Spain from ingesting 17kg of plastics generated for British and European supermarkets.

 
'For me, the most spectacular moments of thought were created by a collection of plates.
A nostalgic medium usually created in ceramics, but in this case recreated in paper­mache
in the hands of Maslen and Mehra, they are transformed into a sinister community
reflective tool addressing the political, cultural and moral decisions we make and
how they may be addressed as historical artefacts or moments in time. Almost mocking
the way in which we now live compared to our past, they highlight our obsession with
money, power and possessions.'

Ruth Page The Upcoming