will cotton (1965)
Will Cotton is an American painter. His work primarily features landscapes composed of sweets, often inhabited by human subjects. Will Cotton lives and works in New York City.
In 1996, Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works. Since about 2002, nude or nearly nude pinup-style models have occasionally populated these candy-land scenes. As in the past, the works project a tactile indulgence in fanciful glut. The female characters are icons of indulgence and languor, reflecting the feel of the landscape itself.
Will Cotton is an American painter. His work primarily features landscapes composed of sweets, often inhabited by human subjects. Will Cotton lives and works in New York City.
In 1996, Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works. Since about 2002, nude or nearly nude pinup-style models have occasionally populated these candy-land scenes. As in the past, the works project a tactile indulgence in fanciful glut. The female characters are icons of indulgence and languor, reflecting the feel of the landscape itself.
Will Cotton is an American painter. His work primarily features landscapes composed of sweets, often inhabited by human subjects. Will Cotton lives and works in New York City.
In 1996, Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works. Since about 2002, nude or nearly nude pinup-style models have occasionally populated these candy-land scenes. As in the past, the works project a tactile indulgence in fanciful glut. The female characters are icons of indulgence and languor, reflecting the feel of the landscape itself.
