With the cakes, my interest in the relationship between pastry-making and power takes on a performative dimension. The cake, as an object, becomes the occasion for a shared gesture: its cutting and its consumption. What remains of this action is a material trace — what is left of the cake — while what remains of the performance is a filmic trace.
The performance is the process through which the object is transformed into a ruin; it does not represent its destruction, but rather its enactment. In this sense, the film constitutes a second ruin, a trace of the transformation that has taken place.
