Here is Victoria Reynolds‘ work who paint some incredible canvas of meat composing some very evocative carne-landscapes. Her work is very likely to be linked with Francis Bacon’s paintings (see former post) as Gilles Deleuze describes it in his Logic of sensation:
Pity the meat! Meat is undoubtedly the chief object of Bacon’s pity, his only object of pity, his Anglo-Irish pity. On this point he is like Soutine, with his immense pity for the Jew. Meat is not dead flesh; it retains all the sufferings and assumes all the colors of living flesh. It manifests such convulsive pain and vulnerability, but also such delightful invention, color, and acrobatics. Bacon does not say, “Pity the beasts,” but rather that every man who suffers is a piece of meat. Meat is the common zone of man and the beast, their zone of indiscernibility; it is a “fact”, a state where the painter identifies with the objects of his horror and his compassion. The painter is certainly a butcher, but he goes to the butcher’s shop as if it were a church, with the meat as the crucified victim. Bacon is a religious painter only in butcher’s shops.