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, turned frontal, their mouths opened, dead flesh brought to the foreground. Hard chiaroscuro, lens distortion, the suggested turquoise of garbage bags.
The tattoos translate the ornament of the early Baroque into the present — when gesture stopped being ideal and was caught by the weight of flesh. 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 spectrum. A form that the content demanded.

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