“Untitled” (Portrait of Ross in L.A.)
Félix González-Torres, Untitled (Portrait of Ross in L.A.) (1991). Multicoloured cellophane-wrapped candies, ideal weight 175 lbs. Art Institute of Chicago.
Félix González-Torres’ Untitled (Portrait of Ross in L.A.) is a poignant, interactive installation that challenges traditional notions of portraiture, memory, and loss. It consists of a pile of candies with an ideal weight of 175 pounds—the healthy weight of his late partner, Ross Laycock. The artwork invites viewers to take a piece, slowly diminishing the pile over time. Both deeply personal and universally resonant, this work transforms grief into an act of participation, engaging audiences in reflecting on love, illness, and impermanence.
A Portrait Beyond the Canvas
Rather than a conventional painted portrait, González-Torres redefines representation through something ephemeral: candy. As visitors take pieces, the work physically diminishes, mirroring Ross’s decline due to AIDS-related complications. However, galleries often replenish the pile, evoking themes of renewal and endurance. This duality—loss and regeneration—creates an evolving and deeply personal experience for each viewer.
The Power of Participation
Unlike traditional artworks that are passively observed, Untitled (Portrait of Ross in L.A.) requires engagement. Each candy taken represents an intimate exchange, connecting the audience with Ross’s memory. Though simple, the act of consumption carries layered meanings: nourishment, care, and even complicity in loss. By making viewers active participants, González-Torres erases the boundary between observer and subject, turning remembrance into an ongoing, collective act.
AIDS, Love, and Visibility
Created during the height of the AIDS crisis, this piece is a quiet yet powerful response to the erasure of those lost to the epidemic. The vibrant candies stand in contrast to the stigma and silence surrounding AIDS, transforming grief into something tactile and colourful. Ross’s presence is not only memorialized but also physically shared, reinforcing the importance of love, remembrance, and the fight against invisibility.
Reflecting on the Fragility of Life and Memory
As the candy pile fluctuates, it forces us to confront the impermanence of life and the ways we hold onto memory. What remains after someone is gone? How do we preserve love beyond physical existence? By dissolving the boundary between art and life, Untitled (Portrait of Ross in L.A.) ensures that Ross’s presence lingers, not just in the gallery, but in the hands and minds of those who engage with the work.
Reflecting on Art, Memory, and Grief
What does Untitled (Portrait of Ross in L.A.) teach us about how we remember the people we love? How does the participatory nature of the work shift our understanding of art, loss, and remembrance?
