Hello, my name is Boo Patrick. I don't just play with my food, I make sculptures out of it! Hence my interest in compiling this Art Set. Aside from crafting icing into various objects, my interests include working on my Art Theory Honours thesis at UNSW (researching transgenderism in art), reading novels, watching anime and playing with animals. I hate/love reality television and love/love Netflix.

When I first saw the work below, I laughed out loud. Titled 'The way we eat,' it presents two images. While the left shows a variety of objects associated with Western dining, from the ubiquitous (the spoon) to the ridiculous (sugar tongs), the panel to the right is empty, save a single pair of chopsticks, floating above a black abyss. A witty comment on cultural differences that exposes the habitual as arbitrary.

Delicious indeed! Well before the advent of Instagram, William Yang occupied himself by snapping photographs of his family and friends, and caused quite a stir in the late 70s for his frank depictions of the gay party set. Interestingly, many of his portraits focus more on food than their subjects' external appearances, suggesting that shared experience is the more important than visual appearance.

Shaun Gladwell's video depicts Hikaru Oranu - a teenage freestyle bike rider - slowly drift in and out of various McDonald's and Hungry Jack's restaurants. Through slowing down the frame rate of the video, Gladwell communicates the zen-like focus experienced by freestylers. Despite Hikaru's skill and dexterity few patrons notice him, their attention monopolised by the scent of fries.

Moving from lobsters to shrimps, and telephones to boots, Michiko's work embodies many of the ideas behind Surrealism, but through a completely different aesthetic. While Dali's work was playful, her imaging of shellfish is sensual, the work's black background creating a sense of intrigue. Though the controlled placement of the shrimps - without any visible support system - produces the kind of harmony associated with Dutch still lifes, the work is... a photograph.

No discussion of food in art would be complete without mentioning Salvador Dali's fantastic lobster phone, which combines a plaster lobster with a Bell telephone. A 'surrealist object,' it combines two items not normally associated with each other, to produce disorientation in the viewer. The eccentric art collector Edward James commissioned this work, who is himself the subject of a fascinating documentary, 'Builder of Dreams.'

Artist couple Ken and Julia Yonetani constructed a laden, nine-metre long dining table, entirely from salt. Titled 'The Last Supper,' the work expresses their concerns at the increasing salinity levels in the Murray-Darling basin, and its impact on food production. Salt is shown here as not merely a problem, but also an offering from the earth - the price it pays to feed us.

To finish with the business end. Tasmania's MONA has some stunning acquisitions. One major work is Cloaca, created by Wim Delvoye in 2010. Presumably named after the Cloaca Maxima - one of the first sewage systems invented by the ancient world - this work is best known by a less formal name: 'poop machine.' Each day, museum attendants feed Cloaca an assortment of foodstuffs, which it converts to - you guessed it! - faeces. No shit!

Wangetchi Mutu's self-contained installation, 'Exhuming Gluttony, Another Requiem,' (2011) is a more literal interpretation of sacrifice. Entering the space, the smell of red wine from the rotting table merges with that of various animal pelts, which, bullet-ridden, hang on the walls. Born in Kenya, many of her works meditate upon the Rwandan genocide.