Déjeuner sur l’herbe – Garden Lunch
February 28, 2016
Los Angeles, 3632 Grand View Boulevard, LA 90066
Lucie Fontaine’s employees hosted the thanksgiving lunch of Laurel Doody, Fiona Connor’s non-profit art space that has been active in Los Angeles for about a year. March 2015-March 2016.
FIONA CONNOR, plates Photos: Fredrik Nilsen
The gallery was also Fiona Connor’s small apartment. Often she moved her bed downstair during the day and brought it back for the night. The exhibition space was rigourously empty. The table for the ritual dinner at each exhibition was improvised and built at the moment. Laurel Doody was not only a whimsical initiative of a single person. Values were at stake. Exhibition by exhibition, it became an offering to the art makers, and their friends. By choice, not a commercial experience. Cooking and eating were parts of the ritual. A little like the Maori who offer hot soup to the stars, sitting on the seashore. Curators, writers, gallerists, designers, photographers, filmakers, performers were part of the collaborative group.
Many people in Los Angeles can say they were there, In Laurel Doody’s space, experiencing sincerity, honesty, passion for art and joyful time. Fiona Connor is an artist who likes displacements of objects and of their common meanings. She brought from her apartment to the Garden Lunch materials for the table: a small cupboard and two doors. The table setting was displayed on the doors. The artist set the table with ceramic plates made by her and with old white and blue Ginori 1900.
Photos: Peter Kirby
As Claude Lévi-Strauss would say, “The same mind which has abandoned itself to the experience becomes the theater of mental operations which, without suppressing the experience, nevertheless transform it into a model to release further mental operations. In the last analysis, the logical coherence of these mental operations is based on the sincerity and honesty of the person who can say, like the explorer bird of the fable, ‘I was there; such and such happened to me; you will believe were you there yourself,’ and who in fact succeeds in communicating that conviction.”
Fiona’s plates are made by pressing clay on architectural surfaces and the ground, then peeling them off and letting them dry over moulds. They were fired at Laurel Doody. At the end of the garden lunch, the friends of the project received their plate as a present.