
Serve the Absurd
Under glass, ordinary objects become absurd relics. These domes serve up desire, nostalgia, and discomfort — sweet, bitter, and strange.

Under glass, ordinary objects become absurd relics. These domes serve up desire, nostalgia, and discomfort — sweet, bitter, and strange.
In Serve the Absurd, domestic elegance collides with the surreal. Under glass domes meant for cakes and confections, fragments of childhood, desire, and ritual are trapped in miniature theaters. Plastic limbs, pompoms, dice, and discarded toys become relics of obsession — playful yet unsettling, comic yet cutting.

Beadridden
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Sugar Baby
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Shoe Fetish
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Heel Fetish
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Love Gamble
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Premature Ejection
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Orange Crush
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

A Handfull
2025
Assemblage under glass dome, mixed media
4 x 4 x 4 in.

Sugar High
2025
Assemblage under glass dome, mixed media
12 x 12 x 12 in.

Strategic Positions
2025
Assemblage under glass dome, mixed media
12 x 12 x 12 in.
Each piece is part of a larger absurdist banquet. Some works expose our fetishes and fixations — stilettos, Barbie shoes, the allure of display. Others twist childhood innocence, revealing the strange undercurrents of nostalgia. Still others explore chance and control, where dice, words, and body parts suggest the fragile line between play and consequence.
Presented together, these assemblages invite the viewer to laugh, squirm, and wonder: what happens when reality is served under glass? The answer is sweet, bitter, and gloriously absurd.


Serve the Absurd is a collection of glass-domed assemblages that transform domestic cake stands into stages for the surreal. Artist Jill Katz fills each dome with fragments of play and desire — Barbie shoes, doll parts, dice, pompoms — creating witty yet unsettling tableaux. At once playful and provocative, the works examine obsession, nostalgia, and the collision of innocence with fetish. Whether presented as small “cupcake curios” or large centerpiece installations, each piece invites the viewer to laugh, recoil, and reflect on the strange rituals we preserve. Katz’s banquet of absurdity offers a feast for the eyes — and a sharp commentary on the sweetness and strangeness of contemporary culture.