Fat Pig was a performative and discursive exploration of food politics, body image, and systems of consumption. Informed by Michael Pollan’s The Omnivore’s Dilemma, the project confronted the contradictions of contemporary food culture—where abundance coexists with disconnection, and personal health obsessions often obscure broader structural injustices. Central questions included: What do we eat, how is it produced, and why have we stopped cooking?

The exhibition opened with a 4½-hour live performance in a functioning kitchen installation, which remained active throughout the week. Here, food operated as medium, metaphor, and method.

These visual choices deepen the conceptual layers of the exhibition. The photographic diptych Goddess 1 and Goddess 2 presents the artist’s body painted with the “Dirty Dozen”—the twelve fruits and vegetables most contaminated by pesticides—turning her skin into a surface of environmental toxicity, dietary anxiety, and mythologized femininity. One image was taken in the artist’s kitchen, and the other features a halo of fries, as shown in the trailer for the exhibition. Both photos feature a golden frame that suggests a surplus or abundance. Inside the frame, fruits and vegetables are arranged in the shape of an hourglass—a form often associated with feminine sexual desirability, both for plus-size and “average-weight” women.

The show’s title, Fat Pig, reclaims a phrase long used as a derogatory insult toward fat people turning it into a site of confrontation and critique. In the photograph Fat Pig, the artist holds a pig’s head in front of her own, her hands covered in red wool gloves—simultaneously evoking domestic labor and blood. The uncanny similarity between the pig’s skin and the artist’s collapses the boundary between human and animal, subject and object, complicating notions of guilt, innocence, and consumption.

The photographic work FAT adds a poetic counterpoint: three helium-filled golden balloon letters—F, A, and T—float delicately against a white background. Despite their apparent lightness, a visible chain tethers them to the ground. The work plays with the dissonance between physical form and symbolic meaning—between levity and gravity.

Throughout the week-long exhibition, the kitchen installation remained in active use—most notably during a brunch held in conjunction with the one-hour artist lecture I Want to Live Forever.

A curated video program on body diversity, featuring works by six international artists, further positioned the body as a site of inscription, power, and resistance.