Culinary Art: Still Life Paintings Inspired by Cuisine
53 Cannon St. Gallery
On view through Nov 13
Free
853-2004

When AC's Bar & Grill moved up King Street, it looked like their tarnished old industrial stove had had its day. But it was rescued by the McCullough family, transplanted to their Cannon Street kitchen and the potboiler still serves its purpose well.

"My dad did a painting of the stove," says Currie McCullough, referring to "Renoir in the Kitchen." The oil on canvas included pots and pans, a baguette and olive oil, tentatively lit by sun from the kitchen window. "I was thinking about food inspiring artists," Currie continues, "so I talked to dad about doing a series." Two months and eight pieces later, 53 Cannon Street Gallery has unveiled the exhibition Still Life Paintings Inspired by Cuisine.

"I typically paint still lifes of food and cooking," explains William McCullough, a.k.a. Currie's dad. "The theme brought together a group of other painters and photographers who do similar work." The varied ingredients work together to make a cohesive show, with traditional oils hanging alongside etchings, photographs and collages.

"It's probably the best show I've had yet," gallery curator Currie says, "with the quality of the work, how all the pieces went together and how they all tied in with the theme." The subject matter is broad enough to let the artists do their own thing. Tammy Papa's tasteful "Colorful Pears" uses pastel, while Robert Dickson works with watercolor in an understated manner. Of the four photographers represented here, Kristin Leigh Hetterman is the most impressive; she isn't afraid to use dark shadows to add depth to her work. Her globe-trotting gems include Mexican signs, Spanish cafes and Folly Beach crabbers.

Arie deZanger provides more photos, imbuing "Fruit in Barn" with qualities worthy of 18th Century French artist Jean-Baptiste-Siméon Chardin. More experimental pieces like "Magritte" and "Reflection in Pans" gleam with deZanger's love for lighting and careful arrangement of his subjects.

The playful Stephen Eaker uses acrylic pencil and collage on wood to remarkable effect. Lines flow and bend, building a strong multidimensional impression. The work's so assured that Eaker can even be forgiven for calling one of the pieces "The Da Vinci Cove."

The offending item is hung in the back room at 53 Cannon. Whether it's the cooking theme or the way the work's displayed, the welcoming atmosphere of the gallery enhances the show. Viewers can even see the real stove that inspired "Renoir in the Kitchen" -- a more plaintive object than the one in the painting.

"I use the subject to create the painting," says William McCullough, "I never use the painting to recreate the subject. Light, texture, and form is the subject of my paintings, whether they are still life, landscape, or figurative."

Still life holds great meaning for Michael Kemp, another artist featured in the show and not a man known for hyperbole. "The tradition allows for a lot of things. You can go anywhere from proto-Cubist to Matisse-like objects to something as sophisticated in terms of painting as William McCullough -- his "Crab Basket" is a masterpiece in terms of that complex layer of painting." Yeah, but does all this food make Kemp feel hungry? "I don't think about it being appetizing in that way," he says, "it's more of a decorative thing."