The bag of chips, a universally shared consumer product, refers to the epicurean pleasure of food and taste, but also to its harmful nature for health if consumed excessively or produced poorly. It is a product of industrialized nature or nature's industrialization. Originally ecological and natural, it is transformed and produced, packaged and weighed, controlled and sold, to be consumed endlessly, almost infinitely, one could say, for our greatest pleasure... But where do all these infinite potatoes come from? Its aesthetic appeal linked to the design of its packaging, its texture, its green colors and shades referring to nature and ecology, misleads us about the actual production conditions of this consumer good. The skull shapes appearing on the packaging visuals indicate the shape of the chips it contains, like vanitas reminding us of our finitude and the fragile aspect of human existence. But have we understood it? Should we continue to regurgitate the works of artists, writers, filmmakers, actors, performers, and many others? Will we wake up to our living conditions in this consumer society?

Money is the pillar of all social interactions. Elements representative of power and law are used here to illustrate the omnipresence and obligation of consumption, of the ever-more-frenetic production of money, towards an endless, meaningless race.

With a “pop” aesthetic, these silkscreens remind us of the extent to which we are “pushed around” by shopping trolleys, excessive consumption, the obliviousness of our actions that make zombies of us, and “products” with no identity of their own.

Echoing the “Black Friday” series, these shopping carts are now devoid of any context and become the marker, almost the “typeface”, of the excessive consumption frenzy, of being pushed around by a symbolic object.