Here, we ask an artist to frame the key details behind one of their latest works.
Bio: Henry Curchod, 31, London.
Title of work: Duck Confit (2023).
Where to see it: “Oh Fortuna!” Clearing (260 Bowery, New York) until March 9.
Three words to describe it: Buttery, verdant, lofty.
What was on your mind at the time: I was thinking about how many different types of kisses there are, specifically in regards to unromantic kissing. In this case, a tender kiss on the forehead by an older work associate can become more complicated through the content of the window frame behind them. I found that a thrilling opportunity and I may try it again.
An interesting feature that’s not immediately noticeable: I imagined two figures at a French restaurant at the top of a skyscraper. This is a place far above the helipads of the other skyscrapers where these affectionate market makers can discreetly rejoice in their successes. Toward the bottom of the canvas, and within the window frame, spaces melt into each other. The multiple perspectives and obfuscation help destabilize their tender moment.
How the work reflects your practice as a whole: The content in my work can be so conspicuous. I like to focus on creating a textural and compositional atmosphere of something seemingly unrelated and imbue the image with a new flavor that helps it become something else altogether. The night before I started this work, I’d made duck confit with asparagus, potatoes, and a jus. I decided to try to mimic the features of that dish into the painting. It’s a political image, but it has the atmosphere of food.
One song that captures the work’s essence: “Nine Out of Ten” by Caetano Veloso.
Portrait by Simone Griffin.
