Each print is 5″ x 5″ and is produced by the Print Space in London for The French Print House and can be found by clicking on Tasting Menu.
This offer only lasts until the end of March ( Midnight March 31 2019)
There is an incremental development in both success and pleasure, when cooking on open wood fires, that depends on the near divine alignment of fair weather, the freshest and finest of ingredients and, above all, on the design, construction and viability of the installation upon which one will be cooking. Last Thursday, the last day of February, was as a perfect day in June although the arc of the sun was that little bit lower and the softer light created long shadows with deeply saturated colour. Therefore, the first of the suggested trinity, the weather, was beyond reproach and, if the February weather was June, the ingredients were July: Chateaubriand, épaule d’agneau, shortrib, aile de raie, cod, poussins, quails, fennel, beetroot, green radish, kohlrabi, shallots, bok choy, aubergines ….we were submerged in a sea of mouthwatering possibility. The extensive and brutalist outdoor kitchen, furnished with fire pits and grills, perched on a hill overlooking a patchwork of forest and farmland which is the Vendéen bocage, completed the trinity.
And then the fires are burning, the fat is spitting and the spits are turning. We, in the words of Mr Tarantino, are getting mediaeval on, if not the asses, then the shoulders, fillets and ribs of a variety of meat and fishes. There is something very visceral and stimulating in this style of cooking. The various dishes being prepared are not concealed in lidded pans nor hidden behind closed oven doors; they are twisting and turning, charring and caramelising behind a curtain of flames and smoke: this is beyond theatre, this is an eruption. The surprise is that such delicate cooking emerges from this sizzling, smokefilled maelstrom.
This is world without egg timers and oven gloves. this is a world where looking, smelling and tasting are the yardsticks. Everything is hot and fingers act as thermometers while the words of Marco Pierre White ring in our ears “God would not have given you fingers if he didn’t intend them to be burned”. Down in the fire pit, away to the side and clear of the flames, sit large foil wrapped packages filled with beetroots and heavily spiced cauliflowers.
As the fires die down, after a long day of photography and cooking, and the dishes that were created in the fire and the smoke are served on simple white plates on the long oak table in the cool of the house, it takes a leap of faith to remember that this delicacy was forged in a raging inferno.
The man behind the pans and in front of the flames is Matt Clark who, together with his wife Emily, runs an exciting outfit called Big in France which offers a multitude of cookery, photography and yoga course from their properties in the Sud Vendée, near to the Atlantic coast of France. I think you’d enjoy it.
An irresistible play on words that was not resisted. It would seem so, but there is some small piece of reasoning behind the word play. The etymology of the word onion reveals the Latin noun “unio, unionis” as a possible derivation and the Latin noun “unio” translates into English as “a single large pearl”. With that in mind, together with the blue of the string and strands of “hair”, I was drawn inexorably to choose “The Pearl with an Onion Earring” as the title of this, the third in my new series of Kitchen Art giclée prints.
All the details and prices can be found at The French Print House.
Nature’s own food packaging fascinates and, deservedly, will feature on more than one occasion in my new series of limited edition giclée prints for The French Print House. “Broken Home” is the second in the series and I am busily working on a third image.
“Broken Home” is printed on Hahnemuhle Photo Rag Fine Art paper and is available in 4 sizes ranging from 3ft x 2ft to 20ins x 16ins with prices from £120 to £40 ( without VAT).
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