Feasting on Art

The flavours of this traditionally haphazard French dessert are inspired by the Mexican classic, huevos rancheros. Traditionally, the eggs are cracked into a bubbling mixture of tomato, chilli and pepper and cooked until soft. The egg and tomatoes are then scooped into a tortilla and eaten like a burrito with a bit of cheese. In my recipe, I swapped around the assembly order and traded the tortilla for some pastry. Cooking my eggs with the chilli and spring onion softens the sharp flavours and the entire dish is brightened with a sprinkling of coriander (or cilantro as it is known in Mexico) and a squeeze of lime. The galette is wonderful when served with sliced tomato and avocado, sprinkled with salt, and a few dashes of hot sauce. Hot sauce suggestions include Cholula, Zaachila, El Yucateco and Tapatío.

Gustavo Montoya, Still Life with Plate of Eggs and Compote
oil on canvas, 60 x 80 cm, Private collection

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From fried oysters to cendol, I consumed a number of delectables while travelling in Malaysia in late October. Our restaurants ranged from street food in Penang to a private beach BBQ on Redang Island. Malaysian food is an exciting blend of Indian, Chinese and Malay cuisines with regional curries and fried noodle courses. I tried a number of new dishes including sea cucumber and overly indulged a few old favorites, especially roti canai. One of the stand-out meals was in Penang at a small Indian restaurant consisting of a few varieties of murtabak (pictured below on the left) along with a table full of curries. Paired with the murtabak was a small bowl of thinly sliced, pickled red onion that brightened the dish and gave it a punch of flavour. This dish can be found in hawker markets around the city, mingling with an assortment of goods from beautiful batik prints to every tropical fruit imaginable.

Leong San Tong Khoo Kongsi, façade stone carving (detail right), c.1906
Cannon Street, Georgetown, Penang, Malaysia

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Life has been hectic as of late. I am in the process of moving house and saying goodbye to my first Sydney home and the beautiful light the big windows provided. I have been dividing my time between cleaning, packing and doing a bit of home repair as an indoor painter with only a nominal amount of time left to cook. This recipe, a concoction of odds and ends from the pantry, was simple, quick and full of flavour. Rolled into a lettuce leaf, the spicy salad is edible on the go and keeps for a couple of days in the refrigerator.

Raphaelle Peale, Still Life with Steak, c.1917
oil on panel, 33.97 x 49.53 cm, Munson Williams Proctor Museum of Art

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I am excited to be writing from Michigan where I am on holiday for the next couple of weeks. Trading winter for summer has been wonderful, and last night I had the pleasure of testing out a few recipes in my aunt & uncle’s wood-fired pizza oven. It is a beautiful set-up (pictured below) and I am so impressed with his pizza handling skills. I tried to slide the pesto pizza into the oven and lost most of the cherry tomatoes to the fire in the process. The dough we used was purchased from Gordon’s – you could also make your own using this recipe, omitting the rosemary and lemon zest. The cooking times will vary depending on the thickness of the pizza crust but in a very hot, wood-fired oven it only took about three minutes.

Claes Oldenburg, Flying Pizza, 1964
lithograph, 43.2 x 56.2 cm, edition of 200

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The reduction of the genre of still life to its title produces a problem between languages.  In English, the name ‘still life’ carries certain connotations.  The word ‘life’ produces the idea of movement; the subject is living and has been captured or stilled within the painting.  The title creates the idea that ‘still life’ is a captured moment, perhaps a ‘snapshot’ of one’s Sunday dinner.  This name is entirely misleading, the still life genre often depicts fish, animals, plants, and commodities – all of which are dead.  The name still life is ironic, because life that has been stilled is death.  As French artist, Manet would have used the French title nature morte, which literally translates to dead nature.  The genre was previously known as vie coye, which roughly translates to ‘silent life.’ (1) The distinction between still life and dead nature is important.  Manet was certainly aware of the English title ‘still life,’ and this becomes apparent in the strange dichotomy in the painting between life and death.  The central image of the fish with its tail suspended in time embodies the living/dead aspect.  The fish looks like it is dead with its mouth gaping and eye bulging, yet the broad sweeping brushstrokes and tail flipped into the air, mentioned earlier, suggests movement and thus life.  This embodiment of the tension within the title of the genre is an aspect of painting unique to Manet.

Édouard Manet, Fish (Still Life), 1864
oil on canvas, 32.1 x 73.4 cm, The Art Institute of Chicago

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