Gab Bois is a multidisciplinary artist known for recontextualizing everyday objects into wearable or functional works of art. Notably, her visual language is identified by her use of food props in her photography work. Images of long headphone cords instead of biking strings? Cocktail shrimp strung together to create a necklace? Countless toy turtles sewn together to form a turtleneck? That’s all Bois.
One category, though, is where her heart really rests—and that’s food. In 2020, Bois created a Rhubarb purse, originally intended only as a creative concept. Just three years later, in December 2023, that evolved into the “Canapés” collection, featuring two physical pieces—a knit sweater adorned with a graphic print using Direct to Garment (DTG) technology and a purse made from 3D models of actual rhubarb leaves. Her use of technologically advanced techniques not only pushed her to develop a new language but to evolve it, too.
Gab Bois, portrait by Alex Blouin and Jodi Heartz.
“I’ve always been captivated by fresh produce—the way it’s meticulously displayed, and the intimate connection we form as we seek out the ripest, most perfect pieces,” the artist said. “This essence is what I strive to capture with ‘Canapés.’ Through these new pieces, I hope to convey the special experience and thought process behind them, furthering my goal of infusing playfulness and quality into people’s wardrobes.”
Most recently, Bois launched a second iteration of “Canapés,” and this time swapped the rhubarb out for a clementine. Paying a zesty homage to the fruit, the collection features a knit cotton sweater with a clementine graphic print and heeled sandals. Made in Italy by expert craftspeople, the latter features a PVC strap, ABS hand-painted heels, and leather uppers and laces. Mimicking real clementines, the heels of the sandals were constructed using 3D models of real clementines.
Courtesy of Gab Bois.
“These clementine pieces hold a very special place in my heart and in my head,” Bois elaborated. “Crafting shoes is an art form unto itself, and the satisfaction of seeing something that has taken so long to create come to life is immeasurable.”
By producing this symbolic collection, heightened by hyperrealistic visual allure and everyday significance, the artist underscores the fashion community’s insatiable need for fresh, current pieces. Whitewall spoke with the self-taught artist to hear how she approached creating her latest “Canapés” collection and what she learned by working with craftspeople to hand-make shoes.
The Return of the “Canapés” Collection
Courtesy of Gab Bois.
WHITEWALL: Let’s return to 2020 and chat about how your first concepts were made. How did tech-forward techniques make your Rhubarb purse and “Canapés” collection possible?
GAB BOIS: Both “Canapés” collections began with prototypes using the real ingredient, followed by scanning techniques to create a product as close to the real thing as possible in texture, color, and shape. We were very lucky in both cases to work with prototyping and manufacturing partners that were very solution-oriented and were not scared to use handcraft and labor-intensive techniques to bring my vision to life.
Courtesy of Gab Bois.
WW: How did this process shape your understanding of the latest collection and what was possible to make?
GB: The production process and techniques varied for the two drops, each project very fulfilling in its own regard. In my photography and creative direction work, it is very important to me to adapt the process to the idea, and so we applied this to “Canapés,” as well. For example, the coloring techniques for Clementine was different from Rhubarb. The clementine heels were hand painted which added a level of realism, an element that was crucial to the success of the shoe. I also quickly learned that making shoes is an art and science of its own, and complex in ways I had not foreseen.
After making the Rhubarb purses, the process for the Clementine shoes was very complex and laborious, and required a lot of education on my end. Now, I look at shoes and understand that they’re not just decoration for your feet. These have been engineered to carry your whole weight and ensure comfort for your spine.
Courtesy of Gab Bois.
WW: How did you make the clementine pieces over the past 3 years? We’d love to hear more details about how the shoes were modeled after actual clementines and made by artisans.
GB: I made the first prototype of the clementine shoe out of real clementines and foam in my home office during the first months of the pandemic. Once I scanned it with a free 3D scan app, I started exploring production with our partners, Studio Synthetique who acted as our trusted advisors and production experts. They were very solution-driven and coordinated all the moving parts and respective teams. It took so long because there were many pieces to the puzzle that we had to fit together seamlessly and constant problem-solving. For one, we had to add straps to what was originally meant to be mules, although this should have been obvious to me from the get-go. Let’s just say it was a huge learning curve.
Gab Bois Shares the Meaning Behind the Clementine
WW: What is important for you to embrace or explore about fresh produce, specifically the clementine? What does it symbolize?
GB: Food and fresh produce are very present in my photography and creative direction work, I am drawn to the visual quality of food and the organization of produce in grocery stores and farmers markets. In my practice I tend to take one thing and give it a completely new use, something unexpected. So with the Clementine shoe, it’s a playful take on an object that shouldn’t even exist and begs the question, am I an art object or am I a functional one? You get to choose.
Courtesy of Gab Bois.
WW: Your wearable art objects are an extension of your signature visual language, deriving from your use of food props in photography work. Can you share with us the evolution of your practice? When did you want to bring these items from 2D to 3D? Why food?
GB: The studio and I have been in the process of re-orienting to making long-lasting pieces and moving away from ephemeral works that only survive in 2D. I want the work to be experienced outside of social media or photo prints where people can interact with the objects, and in this case, they can even collect them and see them in their daily lives. I often choose to work with food because I love how it looks and it’s a relatable theme, it’s something everyone interacts with and knows intuitively.
WW: Your idea of fast fashion and overconsumption pushed you to consider desirable items that can be appreciated as art objects. How do you view fashion and photography as art objects?
GB: I approached this project knowing that I am not creating something people need. I am creating an art object to be visually appreciated and collected. Knowing this, I didn’t want to throw massive quantities out into the world, but rather create a luxury item. Smaller quantities, bigger impact. I am a big collector and have always been drawn to objects. I have been collecting rocks with funny shapes and silly miniatures for my whole life. Canapés and my photography are a testament to my appreciation for objects because I think that perception is what turns any object into an art object.
Courtesy of Gab Bois.
WW: What are you working on next?
GB: The studio and I have been focusing on making more physical work and large-scale projects, such as installations and experiences that bridge disciplines, creating the most complete project that can bring my vision to life in the physical and digital worlds.
