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Column of Disingenuous 

Disingenuous /ˌdɪs.ɪnˈdʒen.ju.əs/
slightly dishonest, or not speaking the complete truth


  Column of Disingenuous explores the demonisation and canonisation of specific nutrients, standing at the intersection between consumers’ emotions about food choices and the narratives constructed by the food industry.


     Slogans such as “sin azúcares” or “con proteína”, collected from supermarket packaging, served as a foundation for exploring the emotions embedded in food perception: fear, adoration, temptation, struggle, repulsion, or excitement. Through intuitive sculpting and sketching, these emotions come to life in a column made of local terracotta, set within a block of plaster. On one side of the block, marketing slogans are inscribed, while on another side, additives and substitute ingredients such a E-numbers and emulsifiers are listed.
The choice of materials was inspired by a local belief about the purifying properties of white plaster during plague times.* The project thus challenges the perceptions imposed by the food industry and health advisors, prompting the public to confront their personal relationship with food. The performative act of breaking the plaster packaging reveals the column of emotions, entangling health concerns, cultural beliefs about “good” and “bad” food, and initiatives for alternatives.

The project is presented at Imágenes y Palabras and during the Silvestris Festival (Oct. 2025).

This project was developed during the residency To kill or to embrace the monster? at El Hacedor (La Aldea, Spain)


Tetrapode, 2025.



Sugar, salt, carbs, and fat versus calcium, vitamins, and protein: are these foods evil or super? Are they the contemporary polymorphic monsters lurking in our diets?



Research: collecting packaging in Spanish supermarket


During the plague, inhabitants plastered the churches, believing that the white plaster had purification properties. Ironically, it did not protect them against the disease but did preserve the monuments from degradation over time.


The Residency El Hacedor invites contemporary artists to think and rethink about past monsters and new monsters to be designed.

“Monsters are omnipresent in society, they are an intrinsic part of our culture and occupy a place in our ways of thinking.
[...] Of course, there are many reasons to kill the monsters: in a secular and reason-based society, there is no need for alien figures to give lessons. They are elements of the past that do not belong to today. Also, they are ugly, scary, threatening,...
[...] Nevertheless, there are also many reasons to embrace them: for diversion, for aesthetic reasons, for philosophical reasons.”

(Extract of the Open Call description)