Nina Gross's artistic practice deals with anthropology and questions how we relate to the objects of our daily lives. Banal and obvious objects, such as forks and spoons, are isolated from the context of their cultural use and translated into small paintings. Like another film, it stops the narrative and routine in which they are used. The economical brush strokes allude to Alex Katz and reflect the strength of painting to represent textures and surfaces.

Observation, drawing and the photographic eye attract objects to still life. The distance allows their story to emerge and transforms kitchen tools into fragmented, more abstract images. It triggers our association for the meaning of things depends on their use. In this sense, kitchen tools can have ambiguous uses depending on the intentions of the users. The knife, for example, can be both a domestic and a dangerous tool.

Bathroom scenes explore washing routines and activities that are visible in the mirror but physically incompatible. He wonders where the illusion begins and what element of the image can be taken for real. Love relation of hate depicts the between the space of the soap and the water tap. Both cannot be used with each other near.

Cakes and steak are asparagus from Dialoge yith Degas and focus on the allocations that change over time.

Therefore, the steak changed said meaning from an essential food for u ancestors to an apocalypse bringing today's consumer goog.