The Breakfast Club places three farm animals alongside a familiar breakfast, holding both states within the same frame.

The connection between them is immediate, yet often unexamined. The animals are presented as whole and present, while the food is prepared, separated, and complete. The shift between these states is neither hidden nor emphasized, but simply allowed to coexist.

Using everyday imagery, the piece invites a closer look at how easily one form becomes another, and how meaning changes through that transition.