A Review of Meret Oppenheim
Oppenheim’s surrealist objects carry traces of lust, nature, culture, imagination, and reality. Her objects were in line with Burton’s concern to escape the everyday object’s boredom. “Breakfast in Fur” is undoubtedly one of the most famous of these objects. A cup, saucer, and small teaspoon. She covered them wholly in fur, combining edible dishes with rabbit fur. This is one of those shocking nearness. This nearness underpinned the incorrect surrealist system.
Oppenheim’s work has a luxurious appearance. She covered the cup and saucer with animal skin. In this way, the tea machines in this work are far from their first function. They also find a sexually charming nature. At the material level, psychologically and symbolically, sexual connotations have an inescapable effect. From Freud’s psychoanalytic point of view, fur and velvet have clear sexual purposes, and the surrealist object is strongly associated with the Freudian concept of “fetish.”
An ordinary, everyday object, like a teacup, becomes a fetish. Because we project our desires on it. Fetish is always a replacement for something else. From Freud’s perspective, it always has a sexual context. However, its symbolic meaning owes to Marx. This symbolic meaning refers to something beyond the object itself. It is always a “sign” of something else. In this way, a surreal object is formed from the subconscious desire’s reflection on an absent being.
At the symbolic level of the work, similar signs are noticeable: the cup, as a feminine and inclusive element, contains the spoon flake element. This interpretation may seem a bit far-fetched to today’s audience. This image of Ghazibi’s mind was in the 1930s, at the height of Freud’s ideas, for ordinary audiences.