Wednesday, February 12, 2014


by Kim Fairchild

by Kim Fairchild

by Kim Fairchild

by Kim Fairchild

By John Coulter

    American artist Kim Fairchild is a master sculptor of miniature
foods.  Food imagery has had a long history from painted still-lifes
to fast food commercials.  Kim's sculptures, jewelry, and dollhouse
miniatures stand out as special.

    The tiny sculptures have an insane, almost magical amount of
detail.  Having seen several in person, one has to wonder if Kim is a
wizard with shrinking powers.  The illusion of realism Kim captures is
phenomenal.  Sculpted meats less than a centimeter wide are fibrous
and fatty.  Breads are crumbly in the center and flaky on the surface.
Kim's work packs more value per cubic inch than any other sculptor.

    Another respectable miniature artist, Shay Aaron's work does not
have the same level of microscopic detail as Kim's oeuvre.  "1:12
Scale Lemons" is a whole plate of pulpy, translucent sliced lemons
smaller than a dime.  The attention to texture and luster really give
Kim an edge over other artists.

    Kim also chooses to sculpt unique moments of narrative for many
pieces, and completely cooked meals are not always represented.  Some
of Kim's miniatures depict half-assembled ingredients, messy dishes or
rotten produce.  "Dirty Dishes II" and "Linzer Cookie Prep Board" are
great examples of Kim's dynamic and unconventional portrayals of food.

    "Dollhouse Lamb Roast" is one of Kim's masterpieces.  The scored
texture of carved meat and subtle variation of color from wet to dry
is amazing.  The bone and herbs are a nice addition.  I've been
vegetarian for years and this work still impresses.  It rivals
Chardin's lush meats.

    A few years ago I had the opportunity to commission a custom piece
from Kim Fairchild.  I asked for a mini Thai Green Curry with Tofu and
it is one of my most prized pieces of art in my collection.  The
grains of rice under the curry are of atomic sizes; almost

Support Kim Fairchild's work by visiting her on Etsy or Deviant Art.