*the echoes of breaking bones 

sound like the crushing of biscuits*


In my artistic practice, I combine painting, objects, installations, text, and techniques such as forensic technical drawings. This approach stems from my experience with manual labor in an electronics factory, which influenced my way of thinking about creation as a precise and repetitive process of assembling and layering individual elements into a larger whole that carries structural order.


Thematically, I focus on popular culture, amusement park environments, and the visual imagery of fairground attractions, developing my own concept of "post-fairground attractions" within which I construct hybrid modular objects. Through these objects, I explore the psychological background and critically reflect on the connections between visual studies, cultural theory, and advertising theory.

 

 

DANIELA PONOMAREVOVÁ

BMOVIE

Street Gore Food presents a stylized model of a pedestrian sidewalk, made with drawing techniques, cardboard, and hot glue. It depicts a simplified section of a street that has lost its original function and has been transformed into a staged platform featuring an imaginary excavation. In this work, the street becomes a digestive system composed of imitations of kitchen appliances used to process food, forming a bizarre menu that parodies the offerings of popular fast-food chains.


The main construction material is found, recyclable cardboard, which serves well for creating buildings and immersive installations, giving it a similar character to a film prop. Typically composed of glued layers of paper, cardboard is used for boxes and packaging, varying in thickness and strength, taking new forms—it becomes a slice of toast, a moldy baguette wrapped in aluminum foil, or a chocolate bar from a mad Willy Wonka factory. It also appears as a pizza on a slowly rotating circular wheel or a baked crust detailed with crème drawings of human tissue, crushed tomatoes, or spaghetti carbonara.

GORE

The visual symbolism thus straddles the line between black humor and the exhibition of cruelty—it is unclear whether it is human tissue or tomato chutney, pus from a burst tumor or creamy mustard, blood or ketchup.

(There is no mayonnaise here!)


The connection to carnival art lies in the use of repeating motifs, the combination of disparate elements, and the employment of cultural and commercial iconography, which, since the 1930s, has shaped the boundary between popular and commercial art.

Visually—through saturated colors, striking contrasts, and comic-book stylization—the work draws on the phenomenon of food porn, widely used in fast-food marketing to present low-quality food as “juicy, enticing, high-resolution, incredibly delicious-looking dishes” (Urban Dictionary, 2016).

Here, the concept of cross sections, familiar in construction for visualizing layers and analyzing objects or terrains, becomes essential. In food porn, similarly, a cross-section reveals the layering of a dish and its individual ingredients.The bizarre composition evokes the feeling of a fantastical painting, a sci-fi horror scenario, or a strange dream. Within the excavation, the consumed pedestrian is disintegrated, losing their individuality and undergoing an irreversible metamorphosis.

*the echoes of breaking bones 

sound like the crushing of biscuits*

POST FAIRGROUND ATTRACTION


*and burnt food scraps 

at the bottom of the pot taste best*

A pedestrian walks down the street on the concrete surface of the road while eating a stale baguette ("yum, yum") that he bought at a fast-food kiosk. He bites into all its delicious layers with his straight teeth and then chews them into a single indistinct mass, the micro-remnants of which he uses to plug the bloody wounds in his irritated gums with his tongue. During his routine walk, when he is bound to mindlessly consume his lunch, he is suddenly stopped by a deep fall into a ditch, leaving him no time for an espresso. *sad face*