This collection of sculptures breathes new life into the tradition of stone carving by transforming cold, hard marble into exciting depictions of decadent foods and sweet treats. Roya’s British-Iranian heritage adds a captivating layer to her work. Whilst Iranian art boasts a rich history in marble sculpture, her upbringing in Britain allows her to playfully subvert tradition. This is evident in her vibrant palette of coloured marbles and alabasters, a move beyond the usual white surface in stone carving we so readily associate with the material.
Stone carving, a historically male-dominated practice, finds a powerful new voice in Roya. Witnessing the sheer virtuosity with which she transforms stone into delightful sculptures underlines the timeless allure of food in art. These meticulously carved treats transcend mere indulgence - they become symbols of abundance and social connection across cultures. You may also discover the familiar picnic visitor, a glamorous disco slug or two climbing the walls of the exhibition. When sourcing marble to sculpt these works creating meat, cheese, cake, shrimps and a salmon fillet, Roya spends a lot of time searching for rare marbles that pay excellent tribute to the colours and textures of her subject matter. During her quest for marble, sometimes she comes across irresistibly rare pieces of marble that then inspire her next work.
The conversation around women and food is normally linked to diet culture and restriction, Roya Bahrams’ exhibition throws a playful marbled wrench into the discourse. Her sculptures - a glistening steak, a melting brie, a decadent cake slice, and fizzy cola bottles - are a celebration of indulgence, a bold rejection of the societal pressures associated with such foods. Roya’s meticulously carved marble sculptures challenge the way we view food. By transforming everyday indulgences into works of art, she invites us to reconsider our relationship with food. It’s not just about restriction and guilt, but also about appreciation, pleasure, and even a touch of whimsy. Her work speaks to anyone who has ever felt the urge to savour a decadent treat, offering a celebration of taste and flavour, free from judgment. Roya places our favourite indulgences on a stage, to be praised, for both their glossy beckoning surfaces but also for what they represent to us culturally, bringing loved ones together around a table or, indeed, a picnic blanket.