“Sugarcraft”

Nikki Renee Anderson, Cherry Bodies (detail), 2008.

Cakes, muffins, pies and other forms of sugary goodness inspired the 100-plus objects in this exhibition, but “Sugarcraft” does not tempt the taste buds as much as you’d expect. For one thing, most of the pieces are inedible, such as curator Wynter Whiteside’s vivid cupcake paintings embellished with glitter pen and the Candy Shoppe!, a vast selection of crocheted cupcakes, felt pies with smiley faces, detailed miniatures, plates and other decorative items provided by the show’s Columbus-based sponsor, Wholly Craft. The show’s emphasis on DIY techniques is one of its few coherent themes, but sifting through the resulting mishmash of preciousness is overwhelming—and these crafts belong in gift shops, not in an art gallery.

The best works use materials in less predictable ways: Christine Marie Davis cleverly shapes feathers and fur into various desserts. Sally Curcio spells out “eye candy” in braille, using button candy. One recognizes Nikki Renee Anderson’s sculpture Cherry Bodies as an ice-cream sundae, but its voluptuous white ceramic form oozing pink “sauce” also has sexual connotations. And Amy Stevens’s nearly abstract photographs of desserts offer a rare unappetizing perspective on the show’s sweet subject.

“Sugarcraft” would seem less scattered if it had a narrower focus than the entire gamut of baked goods and candy. But its combination of artists and culinary taste makers raises an intriguing question. Mark Seaman’s bravura homemade tiered wedding cake—which is edible—reflects such impressive creativity and craftsmanship that it might impel you to get hitched. Why shouldn’t it be considered art?