KNEAD

2025

Laura White and Liza Dieckwisch, Installation view KNEAD, Fondazione Pastificio Cerere 2025. Courtesy Fondazione Pastificio Cerere. Photography by Carlo Romano.
2025

Laura White. KNEAD. Dough mix, food colouring, MDF, paint and concrete blocks. Dimensions variable. Fondazione Pastificio Cerere, Rome, Italy. Courtesy Fondazione Pastificio Cerere Photography by Carlo Romano.
2025

Laura White and Liza Dieckwisch, Installation view KNEAD, Fondazione Pastificio Cerere. Courtesy Fondazione Pastificio Cerere. Photography by Carlo Romano.
2025

Laura White and Liza Dieckwisch, Installation view KNEAD, Fondazione Pastificio Cerere 2025. Courtesy Fondazione Pastificio Cerere. Photography by Carlo Romano.
2025

Laura White and Liza Dieckwisch, Video. KNEAD, Fondazione Pastificio Cerere.
2025

KNEAD 2025

Laura White and Liza Dieckwisch

KNEAD

With a text by Julia Draganović

7 May to 11 June 2025

Fondazione Pastificio Cerere

Via degli Ausoni 7 – Rome

Catalogue

Both White and Dieckwisch place food at the core of their artistic practice. While White’s work is rooted in sculpture and Dieckwisch’s in painting, their approaches—though visually distinct—are united by a deep engagement with food, both as a material and as a conceptual inspiration.

During their residencies in Rome from September 2022 to July 2023—Liza at the German Academy and Laura at the British School at Rome—the artists developed a creative dialogue centered around culinary experimentation. They frequently gathered to cook together, using their material-based artistic sensibilities to explore both traditional and innovative food preparation techniques.From crafting Italian delicacies such as sfogliatelle and castagnaccio to working with lamb innards for coratella and sausages, their collaboration blurred the boundaries between cooking and art.

Despite this shared process, each artist approaches food from a unique perspective. White engages with the physical and tactile properties of ingredients, incorporating bodily gestures—rolling, kneading, and slicing—into her artistic exploration. Dieckwisch, on the other hand, perceives food as a visual entity, capturing intimate close-up photographs of honey dripping or dough rising, which serve as the foundation for her paintings.

Laura White creates a site-specific installation that investigates dough as a sculptural medium. The installation incorporates a low platform running through the center of the space, weaving between the pillars. Her dough sculptures occupy and inhabit this raised structure, at times cascading over its edges.

Folds and ripples of dough move across the surface with a sense of urgency, some splitting or breaking apart. These fragments, varied in size and form, evoke the remnants of something once whole – like the ruins of a larger structure. The pieces appear both fleshy and stone-like, reminiscent of marble fragments from a Baroque sculpture, seeming both dead and alive. They suggest entrails from an animal’s interior, the skin of a human body, or even marbled cuts of meat displayed in a butcher’s shop.

In drawing from Gian Lorenzo Bernini’s concept of rendering stone as soft as dough, White bridges the everyday with the monumental, allowing the material’s movement and resistance to guide her artistic process.

Press Release_ ENG LAURA WHITE LIZA DIECKWISCH

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