In her latest show, the farmer and chef-turned-painter reclaims scenes of domesticity and homemaking. Instead, she transforms still-lifes of table settings, food she’s cooked, deserts, and gold inlaid bone china into subversive symbols. She uses the medium of home-set still-life painting, one of the earliest and more socially acceptable ways for women artists to express their talents, into a jumping off point for questions about “class, labor, utility, and tradition.”