In the 18th century, European porcelain manufacturers such as Meissen and Sèvres translated idealised scenes of rural life into luxury objects for courtly and aristocratic circles. The supposedly simple life close to nature was aestheticised and turned into a marker of status.

Tasteless Plates takes up this logic and shifts it. Queer language, sexual desire and supposedly “bad taste” appear on classical porcelain plates. Rather than simply reversing high and popular culture, the work uses porcelain’s history as a medium of cultural distinction to make queer codes and knowledge visible.