Three croquembouches were constructed in the main entrance hall of the Royal Academy of Arts of Stockholm. They featured cream puffs of five flavors: vanilla, chocolate, pistachio, rose and coffee.

The croquembouche, a pyramid of small cream puffs welded by caramel, inscribes itself in the tradition of classic French pastry as a decorative centerpiece. It is also a modular structure, and as such can be understood within a contemporary formal framework. Created by Antonin Carême, the celebrated early nineteenth century pastry chef who stated that "the most noble of all the arts is Architecture, and its greatest manifestation is the art of the pastry chef", the croquembouche is in fact an avant-garde work of Architecture, both structural and spatial.

Its place on the table as a spectacle in the decades preceding the invention of film also frames it as a form of proto-cinema - an edible, cinematic architecture.


La Mort de Camille is a platted dessert based on one of the final scene of Jean-Luc Godard’s 1963 film Le Mépris, and is meant to be served at the end of its screening. A blond lemon dacquoise bleeds on the plate, as shattered pieces of almond nougatine are scattered around, capturing the impact of the car accident which kills Camille.

A plated dessert, coming at the end of the meal, should also stsrive to bring notes of glamor and tragedy to mark the end of a journey. In La Mort de Camille, the blond lemon dacquoise dramatically bleeds its spicy coulis onto the plate. The coulis self-plates when the dacquoise is pierced, left to its own fate. This act, tragic because of its deterministic nature, is in direct opposition to the glamour of the pastry and of the beautiful white porcelain dish.