Bon Appétit is a further development of Kurt Stimmeder's hand cycle. The series investigates rage as a physical condition, stored in the jaw, waiting in tensions. Three portraits of old masters, Caravaggio, Van Dyck, Delacroix, are turned frontal, their mouths opened, the dead flesh of animals brought to the foreground. Hard chiaroscuro, amplified lens distortion, the suggested turquoise of garbage bags.
The tattoos translate the ornament of the early Baroque into the present, a time when gesture stopped being ideal and was caught by the weight of flesh. Stimmeder compares the current quality of time with Romanticism, a period of resistance and return. The dead flesh of animals is a blind spot of our society.
The proximity is calculated so that the observer has no way out. What shows itself is not a single state, it is a spectru

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