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    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006
    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006
    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006
    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006
    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006
    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006
    Open a larger version of the following image in a popup: Steve Canaday, Honey mead burger bitch, 2006

    Steve Canaday Lansing, Michigan, EUA , b. 1967

    Honey mead burger bitch, 2006
    Oil on canvas
    172.5 x 183 x 3 cm
    67 7/8 x 72 x 1 1/8 in
    © 2006 Steve Canaday / Courtesy Fundación AMMA
    Photo: Alejandro Paez

    Further images

    • (View a larger image of thumbnail 1 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 2 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 3 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 4 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 5 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 6 ) Zhengjie Feng, China 2005 Num. 24, 2005
    • (View a larger image of thumbnail 7 ) Zhengjie Feng, China 2005 Num. 24, 2005
    View on a wall
    Read more
    In Honey Mead Burger Bitch, Canaday constructs a domestic-industrial space saturated with objects: a lamp with hanging spotlights, exposed pipes, a branch bursting in from the background, and an oversized pear that dominates the composition like an everyday object elevated to a monumental scale. Two nude women occupy the foreground in deliberately exhibitionist poses—one reclining on a green armchair, her legs encased in plaid socks and raised toward the viewer; the other squatting, holding a portable radio, her arms raised—while the purple floor is littered with the remnants of an unfinished scene: an overturned spray paint can, scattered coins, a cup, an open notebook.
    With a title that satirizes advertising language and consumerism, the work aligns with Canaday's practice of portraying the visual landscape of Los Angeles through a lighthearted figuration and a luminous palette, where the domestic, the pop, and the grotesque coexist without hierarchy.
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Av. Las Flores 64 A,

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