By Lauren Fournier and Greta Hamilton
This essay is the second in a three-part series on culinary fermentation practices and their recent associations in the art world. “Fermentation for the Spirit” considers the rise in popularity of sourdough bread baking during the start of the pandemic, while theorizing on the larger social, political, and cultural potentials of fermentation.
GH: The winter I started making sourdough, I also kept a fermentation diary as documentation for a conceptual art class I took with Amish Morrell at OCAD University. The diary was intended to function as a how-to for sourdough bread, inspired by instructional works from conceptual artists like Yoko Ono, Lee Lozano, and John Cage. It chronicles the origins of my sourdough starter, its multiple deaths, the many flat loaves of bread I ate with various soups, my relative hunger and fullness, the smells and tastes of my domestic surroundings. It was an attempt to present the document of a material process as a final artistic product—a tactic used by conceptual artists when materials were scarce and materiality was deemed overwrought and commodified. While writing the diaries, I meditated on the possibility of decentering materiality in a contemporary sense, perhaps held in the potential of writing.Read More