SPECIAL ISSUE 2008

restaurants as galleries . top chefs as canvas . your dinner as art

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2003 & 2006 International Winemaker of the YearInternational Wine and Spirit Competition

www.peterlehmannwines.com

T h e P E O P L E , S T O R I E S & W I N E S

T H A T M A K E t h e B A R O S S A F A M O U S

MAG-A. ZINE A SPECIAL ART ISSUE

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CITYFOODA PUBLICATION OF

MAYFARE PRESS LTD.

EDITOR/PUBLISHERRhonda May

CONTRIBUTINGWriters

(THIS ISSUE)

Rhonda MayTimothy TaylorSherry Tyler

CONTRIBUTINGARTISTS &

PHOTOGRAPHERS

Hamid AttieJackie ConnellyByron DaunceyQuinton GordonAndrew OwenJohn Sherlock

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COVER DESIGN:“Art Thowdown at Boneta”by Byron Dauncey and

Andrew Owen

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Copyright 2008by Mayfare Press Ltd. All rights

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For information regarding permissions,write to the above address. Although

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responsible for any errors or omissionsthat may occur. All opinions expressedin the articles are those of the writersand not necessarily that of the publisher.

The publisher retains the right torefuse any advertisement due to

inappropriate content.

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In this issue .... Spring 2008

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In this issue we’ve attempted something a little different -- to take a lookat how our region’s food culture intersects with that of its fine arts communities.The challenge: could we find a few of those zones where food’s tangiblepresence overlaps with art’s intangible interpretation of it? Or even thepoint where ultimately, the two become indistinguishable from each other?

Well, no one said it would be an easy task, or even a justifiable one.After all, magazines concerned with food are expected to uphold certainconceptions about food - mostly to enhance foods desirability, and henceits sale-ability, by focusing on its allure. However, even if art is truth, and truth isbeautiful, it still doesn’t always hold that art is beautiful. In fact, it can be quitethe opposite. So, is it advisable to take that less scene route with food?

Looking at food artistically means gazing at its hidden, and sometimesless sanitized aspects. Not to mention putting it firmly in association withsome tough thoughts and images that food publications usually cut awaylike so much gristle. In the book Helen’s Cookbook (see page 14), astatement reads:

“[Food] begins and ends as dirt, refuse, leftovers, manure and so on. Butsomewhere between taste and the toilet, nourishment tracks throughmounds of physical, emotional, psychological, social, cultural and capi-tal concerns ...”

Gritty stuff that. In one sentence it confronts an squeamish editor withat least three words that must NEVER, gasp, be printed in a “food magazine.”Yet engaging with art is all about challenging one’s comfort zones andconfronting traditional notions about what “should” be. And that’s prettymuch what happened during the production of this issue.

One example was when the artist who designed our cover insisted onaltering our magazine’s logo because the logo design was a incompatibleforce with the rest of the cover image. For a publication, for any kind ofbusiness, tampering with the logo is a form of heresy. But could we notgo with the flow for just this one issue? Well, ... why not? And could wealso write about how the same artist was using as his canvas, one offood’s unmentionable (if ever present) end products, the industrialgarbage container? Uh .. well, let’s try it and see what happens.

Some of our readers will not understand or approve of this strayingfrom the predictable path, and we know that. On the other hand, othersmay totally appreciate the adventurous nature of it. But just as it is withfood choices, it’s all a matter of personal tastes.

One thing is for sure, doing so was not a commercially exploitativeidea. The safe and more bankable option would have been to jump on thegreen bandwagon like nearly everyone else in the publishing field thesedays. But then, we took a seat on that wagon when we first publishedCityFood in 1992, and as you will see in our next issue, we are still driving it.

This issue however, is about trying on a new idea, no matter how muchof a stretch. We even predict, it may not even seem that new for long.

If history is any example, it is that art is what civilized societies turn towhen their more physical needs are met. Right now, in larger and moreworldly centres, small, hip art galleries have become the new bars, andthe knowledge and acquisition of art has surpassed the status that anenviable wine cellar used to fill. Even here at home there is a newawareness and appreciation of art that is coming from indirectly relatedcommunities, such as the restaurant industry. Take a look at Boneta, arestaurant that is a prominent backdrop in this issue. Yes, it has great foodand wine and cocktails, and the savvy service that goes with all that. Butit’s also very much into its commitment to art -- young, up and comingart, and it pays more than lip service to it.

Just in Vancouver alone, a new enthusiasm for public art space, plansfor a new Vancouver Art Gallery, and Vancouver’s cultural quota expandinginto new exhibitions, installations and arts festivals, is a signal that art inthis city is approaching a new stage of critical mass. If 2007 saw a boomin restaurants and large wine tasting events, the next couple of yearsshould see a new explosion in artistic circles. One that spills out of its owncategories and into neighbouring areas like so much water in a boiling pot.

We intend to be here when it does. Because ready for it or not, the crossovershould be so damn interesting... not to mention inspiring.

-- Rhonda May, Editor

In the next issueof CityFood we lookat BC agriculture froma new and slightlyoffbeat perspective

... film at 11.

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PentictonBarrelsAdrev.indd 1 11/30/07 2:03:15 PM

Celebrating 150 years of bountiful Fraser Valley harvests and food processing!

In response to overwhelming consumer demand in the Valley, the very successful six year old EAT! Vancouver is recreating the magic of food and cooking at the Tradex Exhibition Centre in Abbotsford, BC.The festival will draw on a consumer base of over 1.5 million persons in the fastest growing community in Canada.

EAT! Fraser Valley is the largest consumer food, beverage and cooking festival in suburban Vancouver. The food show features food, beverage and kitchen goods exhibitors along with wineries, breweries, restaurants,cooking demonstrations, wine and cheese seminars, cookbook authors,chef competitions and barbecue and chili cook-offs.

Friday 5:00 pm to 9:00 pm Saturday 11:00 am to 9:00 pm Sunday 11:00 am to 5:00 pm

www.eat-fraservalley.com

Produced by: Executive Event Production Inc. www.eat-bc.com

Tradex Exhibition CentreAbbotsford, BCSeptember 12, 13 & 14, 2008

JUNE 10, 2008:Peller Estates Wine Dinner.Hamilton Street Grill is celebrating its11th anniversary in Yaletown. To markthe occasion, a 7 course dinner byHamilton Street Grill's Executive ChefNeil Wyles and Sous Chef Aaron Chanwill be served with six wines fromBC's Peller Estates Winery. WinemakerStephanie Leinemann will introduceeach wine. Seating is limited; henceyou should book in advance. $62.50per person (all inclusive). 6:30 p.m.Hamilton Street Grill, 009 HamiltonStreet, Vancouver. 604-331-1511

JUNE 12, 2008:Project Empty Bowl.Guests will be given a hand-craftedsouvenir bowl, created by artistRachelle Chinnery, to be filled at chefattended stations placed throughout theevent. Highlights include an auction of$40K worth of original art and collectibles.$70. Tickets available at Little SistersBook and Art Emporium, 1238 DavieStreet (604-669-1753) and at A LovingSpoonful, 1300 Richards Street, (604-682-6325). 6:30 p.m Mezzanine Level,Pacific Pallisades Hotel. 1277 RobsonSt., Vancouver.

JUNE 13, 14, 2008:The Grill’s on for Father’s Day atTrafalgar’s Bistro.Trafalgar Bistro's three course Father’sDay Menu includes prawn and babyromaine wedge salad with warm cherrytomato vinaigrette and crispy pancetta,plus a main course of grilled venisonrack chop with lemon-thyme and figmashed potatoes, sautéed beans andgrainy mustard jus. All followed by achoice of Sweet Obsession desserts.$42 (plus tax and gratuity), 5 p.m.onwards. Trafalgar’s Bistro, 2603 West16th Ave Vancouver, 604-739-0555

JUNE 14, 2008Free Wine Tasting at Marquis.Marquis wine is hosting a free winetasting session for patrons to sampletheir new wine arrivals. While you

sample, you can also have look at theirone day only Riedel Glassware offer(15% discount on select glassware).Entry: free, 1 p.m. to 4 p.m. MarquisWine Cellars. 1034 Davie Street,Vancouver, BC. 604-684-0445.

JUNE 14, 15, 2008:Secret Gardens Tour.Nine homes will open their gardens toticket holders in a unique fundraiser forthe VanDusen Botanical Gardens called“Secret Gardens”. This year’s collectionof gardens presents a broad range ofstyles and plantings, from formal toromantic to aquatic to culinary intheme. Tickets are $30 per person andmust be purchased in advance fromVandusen.

JUNE 14, 15, & 22, 2008Three Day Wine & Spirits EducationTrust - Intermediate Course.The Wine & Spirits Education Trustcourses (Intermediate Level) takesplace today in Kelowna. Courses willbe taught by James Cluer of FineVintage Ltd. Prices: $800 (includesinstruction, wine & study materials)plus optional $105 (for Exam & WSETCertificate). 9:30 a.m. to 5:30 p.m.Register at www.finevintageltd.com orcall 1-866-379-4915.

JUNE 21, 2008:Projected Opening Day for the UBCFarm Market.Mark your calendars. UBC farm markethas scheduled their first Saturday mar-ket of the season on this date, between9 a.m. and 1 p.m. (weather permitting.)The first market will have a variety ofearly season produce, as well asseedlings and other plants. At UBCFarms. 6182 South Campus Road, UBC.

JUNE 22, 2008:Master Class Series: Grilling 101Morton Steakhouse presents Grilling101, the first in the Morton’s MasterClass Series. This class teaches thesecrets of grilling, marinades and rubs.Morton’s Executive Chef Lee Milton

will be teaching the fine nuances ofgrilling. The class includes a steak andseafood lunch with wine or beer.Students will also be presented with agift bag which includes Morton’s secretgrilling sauce, grilling cheat sheet andMorton’s CD. $99 (all-inclusive). 1p.m. 750 West Cordova Street,Vancouver. 604-915-5105.

JUNE 24, 2008:Training Your Staff for the Front-Line.The Wine Plus+ Front-Line Training is

a half-day course intended to provideboth new and existing front-line staffwith the wine knowledge they need todo their job well. This program isfocused for those involved in or look-ing to work in the wine industry. $99per person. 9 a.m. to 1:30 p.m. Takingplace in Kelowna. To register or receivemore information contact Rhys Penderof Wine Plus+ at 250-317-8796. Oremail rhys@wineplus.ca

JUNE 25, 2008:Lobster Dinner at Hart House.The evening begins in the open air ofHart House’s Burnaby estate with anhour of wine sampling followed by abuffet-style dinner featuring fresh NovaScotia lobster. Hart House’s is famousfor its unparalleled view of Deer Lake.Entertainment will be live, toe-tappingMaritime music.Reservations by phoneonly. 6664 Deer Lake Ave., Burnaby.604-298-4278

JULY 5, 6, 2008:4th Annual Organic Islands Festival& Sustainability Expo.Canada’s largest outdoor green festival,provides a look at who's who in thegreen community. Featuring over 100exhibits, interactive displays, presenta-tions, natural food demos, children'sactivities and entertainment. Takingplace at Glendale Gardens & Woodlandat the Horticultural Centre of thePacific. 505 Quayle Road, Victoria.250-658-8148.

EVENTS CALENDAR

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JULY 13, 2008The Seattle Luxury Chocolate Salon.A collection of world famous chocolates will be onsale/exhibition to win the Luxury Chocolate SalonAwards. The chocolates will be made by chocolatiersand confectioners such as Amano Artisan Chocolate,Kekau Chocolatier, Cocoa Chai Chocolates, PetitNoirs, Guittard Chocolate, Poco Dolce and manymore. $20 entry fee ($17.50 if purchased in advance),Bell Harbor International Conference Center, 2211Alaskan Way, Seattle. .

JULY 19, 2008:Cookbook Swap at the Farmers Market.Bring one, buy one. Your used cookbooks, that is.The annual swap takes place at the East VancouverFarmers Market at Trout Lake (15th and VictoriaDrive). Vancouver.

JULY 27, 2008:A Matter of Taste: Ceramics and CulinaryConnectionsSuitable for groups of 8-30, this program links the his-tory of European food, nutrition, and the etiquette ofeating with the European ceramics in the KoernerCeramics Gallery. $10 per person. 1 p.m. To book,contact 604-822-4643 or bookings@moa.ubc.ca.Sponsors are Firefly Fine Wines and Ales andLangford Foods. Exhibition takes place at the UBCMusuem of Anthropogy. 6393 N.W. Marine Drive,Vancouver. 604-822-5087.

AUGUST 2, 2008Wine & Spirits Education Trust - FoundationCourse.The Wine & Spirits Education Trust courses(Foundation Level) takes place today in Penticton.Courses will be taught by James Cluer of FineVintage Ltd. Prices: $299 (includes instruction, wine& study materials) plus optional $70 (for Exam &WSET Certificate). 9:30 a.m. to 5:30 p.m. Register atwww.finevintageltd.com or call 1-866-379-4915.

AUGUST 7-9, 2008:Okanagan Summer Wine Festival 2008.The Okanagan Summer Wine Festival is held everysecond weekend in August at Silver Star MountainResort in Vernon. Come and treat yourself to anintimate weekend of wine education, arts, music andmile high outdoor recreation.The summer wine fes-tival offers unique wine seminars, great eveningentertainment, a foot stomping musical outdoor winetasting and presentations by local artists.Check thewebsite for more information. www.owfs.com

AUGUST 16, 23,24,27, 2008:Tomato Festival at the Farmers Market:A day of events planned around everyone’s favouriteseason at the Farmers Markets - Tomato time! WestEnd (16th), East Vancouver (23rd), Kitsilano (24th),Riley Park (27th). Check our website at www.city-food.com for updates.

AUGUST 30, 2008:Sea to Sky Feast of Fields:The third annual Feast of Fields event for theWhistler/Pemberton area takes place this year atRebagliati Park in Whistler. Enjoy farm fresh fareand the best of the local restaurants, wineries andbreweries. Bid on items donated by the localbusiness community at the silent auction. 1 to 5 p.m.4540 Blackcomb Way, Whistler.CityFood Magazinewill be a media sponsor for this event.

SEPTEMBER 6, 7, 13, 14, 27, 28, 2008Six Day Wine & Spirits Education Trust -Advanced Course.The Wine & Spirits Education Trust courses(Advanced Level) takes place today in Vancouver.Courses will be taught by James Cluer of FineVintage Ltd. Prices: $1,595 (includes instruction,wine & study materials) plus optional $130 (forExam & WSET Certificate). 9:30 a.m. to 5:30 p.m.Register Now at www.finevintageltd.com or call1-866-379-4915.

SEPTEMBER 7:Lower Mainland Feast of Fields:FarmFolk/CityFolk once again holds its popularannual fundraiser at UBC Farms. 1-5 p.m. Over 40participants (restaurants, wineries, breweries and foodproducers) have signed up and many more areexpected. Tickets go on sale to the public on July 1,2008. As we have every year since the festival began,CityFood Magazine is proud to be a media sponsorfor this event.

SEPTEMBER 12, 13, 14:EAT! Fraser Valley: Food + Cooking ShowIn response to consumer demand in the Valley, EAT!Vancouver has launched a second show in the FraserValley to draw on its consumer base of 1.5 millionpersons. As in Vancouver, the show will feature food,beverage and kitchen goods exhibitors along withwineries, breweries, restaurants, cooking demonstra-tions, wine and cheese seminars, cookbook authors,chef competitions and barbecue and chili cook-offs. Taking place at the Tradex Exhibition Centre inAbbotsford. See www.eat-fraservalley.com for ticketand time information.

SEPTEMBER 13:Naramata Bench Wineries Tailgate Party:Twenty-two Naramata Bench wineries are comingtogether to drop their tailgates, pour wine, and have aparty! Ticket price includes a buffet of local cuisineprovided by the chefs from Naramata Heritage Inn &Spa, Hillside Estate Barrel Room Bistro, OkanaganHerb Co. and The Bench Artisan Food Market.Tickets $75 + tax.This year the event will be hostedby Township 7 Vineyards & Winery (1450 McMillanAvenue just before Naramata Road) For info,visitwww. naramatabenchlands.com. Or call OkReservations Direct 1-800-663-1900.

Best Seasonal MenusBe on the lookout for these special menus and bargain deals this summer:

* Chef James Walt will repeat his 100-mile Chef’s Tasting menu at Araxi restaurant, where everyingredient will be sourced, raised, produced or grown from within a 100 mile (160 kilometre)radius of the Whistler/Pemberton area. 4222 Whistler Village Square. 604-932-4540.

* At Provence Marinaside, Chef Jean-Francis Quaglia is cooking up a Duo of Crevettes Tacheesde BC, in other words, two jumbo BC spot prawns with potato and spinach salad with grainymustard and bacon vinaigrette. It’s part of the $42,. 3-course prix fixe menu, along with theantipasti selection or Qualicum Bay scallops, plus a choice from the dessert menu. 1177Marinaside Crescent. 604-681-4144.

* While the season lasts, Raincity Grill will be making a splash with BC spot prawns on a 100mile tasting menu that will feature the prawn on four out of the six courses. $62. Or try out thetake out window. Ten dollars gets you beer-battered halibut and chips, accompanied by tartar andslaw all served in eco-friendly containers. 1193 Denman Street. 604-685-7337.

* Over at West, Chef Warren Geraghty is offering the latest seafood ingredient, sableenes, on hisseasonal prix fixe menu. 2881 Granville St.604-738-8938.

* At CinCin, Chef Thierry Busset will offer his all-fruit dessert menu. 1154 Robson St 604-688-7338

* August at Horizons brings back the Best of BC – $30 for a 3 course dinner prepared byExecutive Chef John Garrett, using only the best ingredients from bountiful British Columbia! Ordine at Horizons in June and receive any of their seafood entrees for $20 with a coupon availablefrom the website at www.horizonsrestaurant.com (see Promotions under the Guest Room tab)100 Centennial Way, Burnaby. 604-299-1155.

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NEW PUBLIC ART GALLERYWhile speculation buzzes over the future of the newrestaurant at the Shangri-la Hotel, what’s known forcertain, and to some people may be more exciting, isthe hotel’s agreement with the Vancouver Art Galleryto host a free-admission, public art space on theground floor of the common area.

This will be the VAG’s first outdoor exhibit space, andthey plan to use it for changing installations of cuttingedge contemporary art. Yes, this means exposure to thecity’s mercurial and often soggy weather, but not allof the works will be traditional sculpture. There is onelarge wall that could be utilized for large scale imagescreening … think giant slide projector.

TrueTT to our region TrTT ue to the seasons

on the

Tastingmenu

NESPRESSO PERKS THINGS UP AT THE BAY

All of Nespresso’s machines, accessories, and coffee pods, plus an assortment ofdesigner coffee cups and spoons, are now on view at their spacious new showcasewhich opened in the basement level of the downtown Bay store this spring.

A subsidiary of parent company Nestle (headquartered in Switzerland), it’sonly the second retail shop that the company has opened in Canada. (They haveone store in Toronto, a few in major US cities, and many café/stores sprinkledthroughout the capitals of Europe.) One item that’s difficult to resist, is the"Tasting Box" of 3 dozen coffee capsules, complete with its “map” under the lid,making it look like an old-fashioned box of chocolates. Purchase one of themachines, and the Tasting Box comes packaged along with it.

VICTORIA S TIPPLE IN ATEA CUP

If 2007 was the year of the 100mile menu, then perhaps 2008 willbe known for 100 mile drinking.In honour of their 100th birthday,Victoria’s Fairmont EmpressHotel has just debuted their ownin-house gin.

Local winemaker, Ken Winchesterof Winchester Cellars, used thewinery’s wood-fired, copper potstill to blend ten locally grown,organic botanicals, includingjuniper berries and rose petals,plus one secret ingredient knownonly to the distillery.Look for it in signature Empress

cocktails, including the “Queen’sJubilee”, created in honour of herMajesty’s visit to the hotel in2002. Or purchase the flint shapedbottle at Straith Spirit Merchants.$49 CDN.

A MIGHTY SHRIMP”If I eat another spot prawn I think I will gag,” said the manacross the dinner table. Graphic to be sure, but also anindirect compliment to the successful promotion of a localBC seafood ingredient that only a few short years ago, mostlocals consumers were not even aware of.

This year you can’t miss the tasty little beasts. They are afeatured item on nearly every restaurant menu in town, andexpected to still be swimming strong until sometimearound the end of June.

Thank these three: 1) Environment organizations such asthe David Suzuki Foundation and the Vancouver PublicAquarium, whose Oceanwise program raised awareness forlocal seafood sustainablity in partnership with BC restaurantsand other food business. 2) Early supporters such as ChefRobert Clark of C restaurant, who made an initial commit-ment to the product; and 3) the Chefs’ Table Society, whowith their Spot Prawn Festival, alerted home cooks to thefact that they could buy prawns direct from the fisherman.

This spring, the Festival launch party attracted 800people to the False Creek Fishermens’ Wharf, and the fishboats will continue to sell their catch to the public from 1:30p.m., daily, until end of season. One might say the scene ishopping like a pot of shrimp on the boil. 1505 West 1st.

IN A TEA CUP

A small sample of the news and featuresposted fresh every day on www.cityfood.com

Photo of S

pot Praw

ns by Jackie Connelly

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Indie movies have always been hip, but suddenly they are more prolificthan ever, with indie film festivals popping up everywhere - some of themeven devoted exclusively to food-themed issues. Apparently, if you havethe will, a camera, and so much as a non GMO peanut butter sandwichbudget to work with, there are no lack of agro-business industries to starin your Michael Moore-style exposé.

Two of the most interesting films in circulation this summer areKing Corn and The Real Dirt on Farmer John. In King Corn (www.king-corn.net), two filmmakers grow an acre of corn and then follow it throughthe food distribution system to track what becomes of their crop. InFarmer John (http://www.farmerjohnmovie.com/FJhome.html), a third-generation Illinois farmer, who is also an activist and performance artist,shakes up the system and otherwise does his best to stick a pitchfork inthe pants of the agro-industry powers.

Coming soon to Barbara-Jos Books to Cooks for a cooking demo andbook launch on June 22 and 23rd, is Diana Kennedy. The famouscookbook author and one of the world’s foremost experts on regionalMexican cuisine, Ms Kennedy has been awarded the Order of the AztecEagle - one of the highest honors in the country - for her service inpromoting the arts and culture of Mexico.

Following on her heels will be Mark Kurlansky (June 27 and 28),who with his newest book “The Last Fish Tale, documents his firsthandexperience of coastal culture and commercial fisheries. He warns thatsuch a way of life may not be much longer sustained. Kurlansky willpreside at one of the bookstore’s 6 o’ clock salons as well as a dinner atVancouver’s C Restaurant. See www.bookstocooks.

While big name chefs fromNew York were moving in, localchefs were quietly moving up.Joseph Sartor, the former souschef of C restaurant, recentlytook the helm at NU Restaurant& Lounge as Chef de Cuisine,and launched his new menu forthe season. Look for Red AceBeet Root and Goat CheeseSalad; Braised Short Rib andFoie Gras Pot Pie; and PanRoasted Lamb Sirloin amongother items that westcoastpeople like.

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BESTOFTHEPACIFICNORTHWEST

whistler village 1 604 932 4540 toptable.ca

Revel Room Restaurant & Lounge238 Abbott Street, Vancouver 604-687-4088Better late than never? When we first wrote about Revel (back inJuly 2007), the projected opening date was six weeks later. Well,it took a little longer, but hopefully the wait will be worth it.

Sometimes it takes a little faith. The place looked so non-distinctive from the outside that we almost missed it in daylight,but come nightfall, the classic Gastown vintage look of highceilings, exposed brick and beam and flickering candlelightshining from behind the neon signage, welcomes one into acasual, neighbourhood club-like space. That’s the way the fourindustry savvy partners intended it to be. With Chef MichaelPacey producing an eclectic but not a concept-forced collection ofworld-inspired tapas, and bar manager Sean Hamilton armed witha coveted 2. a.m. closing time license, now that they’ve built it,the legendary “they” will surely come.

Uva Wine Bar900 Seymour St, Vancouver, BC 604-632-9560A downtown city block that has never boasted an attraction before,(unless one is in need of something from the Staples store), hassprouted the jaunty little Uva Wine Bar, on the ground floor of thenewly refurbished Moda Hotel. Frankly, the contrasting black,white and red decor of the place leaves us a little chilly. Oneshouldn’t be so ballsy as to go with white chairs in a wine bar, onlyto chicken out with wipe-down, go-go boot fabric. And the redlight they shine inside at night has you looking for the disco ball.

Nevermind, the wine is the thing, and well respected sommelier/consultant Sebastien Le Goff knows his stuff. The charcuterie oflocally cured meat and aged cheeses has enough eye and tasteappeal to make up for everything, and if you weight watching, youmight not even mind that it is sliced paper thin.

The Greedy Pig307 Cordova St., Vancouver, BC 604-669-4991After reading a local reviewer’s complaints about the restaurant’sWC, we entered with trepidation. However, we figure she musthave had the bad luck to have followed a bean-eating cus-tomer, because we found them to be well ventilated. Our disap-pointment was on the menu.The pulled pork sandwich (eventhough made from an in-house recipe), wasn’t quite the juicysatisfaction we were hoping for. And the uninspired terra chipson the side did nothing to help. But in other ways, the littlespot is a friendly charmer. The band set up in the back, and thesurrounding cozy corners, gives it away that the Pig is at itsbest as a night hangout that comes alive when the music andcrowds are present. A real gem is the menu of old-fashionedbourbon drinks fashioned by hip barman, Nick Devine.

Jordan’s Crossing2131 Lake Placid Rd., Whistler, BC 604-966-5705This new restaurant located in Creekside’s beautiful Nita LakeLodge Hotel, was in transition when we got our first look.. ChefAndrew Springett had already left to set up the menus for theowner’s other new property in Ucluelet, Black Rock Resort. Evenso, three things stood out as winning features. 1) The drop jawgorgeous view of Nita Lake from the restaurant’s wall lengthpicture windows. 2) A very competent, old-fashioned CaesarSalad prepared tableside in a carved tree trunk bowl (such rusticsophistication); and 3) An amazingly talented pastry chef whoturned out to be such a well kept secret, even the staff didn’t knowher name. The picture to the right is the lounge, not the restaurant,but both are worth a stop if you have just chugged in on theWhistler train, whose station terminus is just next door.

The Restaurant at Painted Boat1289 Lagoon Road, Madiera Park, BC no phone number yetThe restaurant at the new Painted Boat Resort Spa and Marina isdue to open mid-June, and from all accounts it is shaping up to bean impressive addition to the Sechelt dining scene. Located in theheart of Pender Harbour (on the site of the former Lowe’s Resort),the development is the newest project of Canadian Rocky MrnResorts, the people behind several well known lodges located with-in the National Parks of BC and Alberta. Architect Peter Treuheitdesigned the entire complex to evoke the look of westcoastexposed timber lofts and the restaurant will sit on the end of anactual one, looking directly over the water views. Calgary-bornChef David Cox may be better known to Albertans (he is ex-alumni of Muse as well as Divino’s Wine & Cheese Bistro). buthe is already a convert to Westcoast seafood and local ingredients.

new restaurants...

T he art of dining is nowhere moreapparent than at Le Gavroche.

DO LUNCH AT LE GAVROCHELeisurely or working business,

Le Gavroche offers lunch with style.Close to downtown offices and shopping

there is no better place to do lunch.

1616 ALBERN I STREET | 604 -685 -3924 | WWW.LEGAVROCHE .COM

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New product - Sableenes

In their efforts to more fully utilize food animals, chefs have been bravely experimenting,if not frightening their customers, with the introduction of novelties such as tongues, ears,feet, and other "less popular" cuts of meat onto their fine dining menus. The seafooddepartment is getting no exemption from these trendy ideas about waste reform either.The greater dining public may not be ready for fins and eyeballs, nevertheless, fishcarcasses are being reexamined for overlooked tasty bits that hitherto may have beenflung from the backs of fishboats as so much seagull buffet.

From this search has come the sableene (pronounced like Mabeline), and it's an itemthat's not turning out to be a hard sell at all. "Sableene" is the chosen marketing term fora thumb-sized piece of flesh attached to the collar behind a sablefish’s main dorsal fin --a part that usually gets thrown away when fishmongers discard the head. However,digging it out of its surrounding bone and cartilage is well worth the effort, because justlike the filet on steak, this small morsel has a distinct flavour and texture all its own.

Warren Geraghty, executive chef of Vancouver’s West restaurant describes the sableene ashaving a sweeter taste than the rest of the sablefish, and without its flaky texture.

“Meat from the sablefish collar is denser and more fleshy, somewhat like a monkfishcheek,” Geraghty says. “And, it takes caramelization beautifully! That, and its compactsize, makes it perfect for appetizer dishes.”

Sableenes are such a new item to the market that Chef Warren has only been workingwith the product for a few weeks – about the same time that Seaside Marketing firstintroduced the product to local Vancouver chefs for their feedback.

Beyond the fish itself, what the seafood wholesaler offers is the convenience factor.You don’t get much of the item from a single fish. But while their fish boats are still atsea off the Queen Charlotte Islands, the company has the sableenes separated from thecollars in bulk and then flash frozen directly after harvesting. Later they deliver these tothe restaurants, sealed in Cryovac packages, approximately 20 pieces per packet.

As shown in the photo above, Chef Warren has been using the item in his SablefishNoisettes, Artichokes and Saffron Barigoule. It’s one of the three courses in West’s $49prix fixe menu for spring, and it’s available at the restaurant now. Apparently, theresponse from customers has been one of unanimous approval.

“Before I came to Canada, I never cooked with frozen fish”, says the formerlyLondon-based Geraghty. "And I never thought I would, but this product is of such goodquality, it's changing my mind.”

new service - restaurant green zone

Used cooking oil is not something one usually associateswith health and the environment. Especially in fast foodrestaurants where the usual rotation for a pot of oil isFrench fries, then fried chicken, then fried seafood or onionrings, then out as landfill. However, there are two moreenvironmentally friendly ways to deal with it. One is toclean the oil via the services of a company like ReNu Oil (www.renuoil.com), andtherefore use less oil. The second is to sign up for Restaurant Green Zone(http://restaurantgreenzone.com), a program whereby ERM Biosource will buy usedoil from restaurants, and then convert it into a source of biofuel, such as biodiesel.(Restaurants may also choose to donate the payment to the Heart and Stroke Fund.)

So far, hundreds of restaurants and hotels in BC have signed up for the Green Zoneprogram (see the complete list on the website), and when they do they get a stickerlike the one above to display in restaurant windows or on cash registers.

The qualifier is that the program will only accept non-transfat vegetable oil. So forthe public, the tag is also reassuring proof that the restaurant is actually cooking withthe healthier, if much more expensive, cooking oil.

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italian inspired woodfired cucina

robson street 604 688 7338 valet nightly toptable.ca

If you happen to be eating in one of the restaurants belonging to the Cactus Club chain and you noticean Andy Warhol-esque piece of art on the wall, don’t assume it is a print, poster, or somebody’s riff onthe master; most likely it’s the real thing. That’s because company founder Richard Jaffray, an art lover,has been building a collection of works by important 20th century artists and then sharing them with hisCactus Club customers by putting selected pieces on display in the dining rooms.

The photos above, for example, show “Kimiko”, “Sitting Bull” and “Howdie Doody”, all works by AndyWarhol. You will find the first two located at the new Byrne Road location in Burnaby, and Howdie ishanging at Surrey’s Southpoint. But look around other Cactus Club venues and you might run intopaintings by Jean Michel Basquiat and Sol Lewitt, as well as architectural lighting designs from the likesof Ingo Mauer and Louis Poulson.

Expect to see even more in the future. When the Cactus Club opens this summer in the downtownBentall 5 building, it will feature a number of original works from the collection including Warhol’s “Afterthe Party”; Basquiat’s series “Cabeza”, “Jawbone of an Ass”, and “Charles the First”, as well as an orig-inal, untitled work by actor, Sir Anthony Hopkins. In addition, the new flagship room will also be home toa group of modern architectural lighting designs, including Louis Poulsen’s “Artichoke Light”, Flos’“Zeppelin Suspension Lamp”, and sculptural pieces by local BC artist, Brent Comber.

For Richard Jaffray, investment is sometimes a consideration when purchasing for the collection,however, he claims not to be focused on any particular genre, and these days he just buys what he andhis design team likes, without pre-supposing a location for it in advance.

Granted, there may be no better way to bring art to the people that to exhibit them in a public eating space, butis this good for the art? Or for that matter, considering their value, is it a safe practice for the owner?

“Not to worry”, says Cactus Club spokesperson, Meaghan Benmore, “the art is securely mounted andclosely monitored”. It is also shielded from any sticky fingered admirer (pun intended) by clear,plexiglass casing.

No doubt, Andy Warhol himself would approve. The artist seldom felt comfortable eating outside the“casual dining” restaurant atmosphere, and he was often photographed eating one of his favouritefoods, a hamburger. He even starred with a burger in one of his own films. (See page 18.)

Cactus Club Culture ...casual dining or people’s art gallery?

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If music be thelove of food, playon ... an interviewwith musician PhilDwyer of the jazztrio “Food forThought”.

CityFood: It sounds like when you are not thinking aboutmusic you are musing about food?

Phil : Well,we all have to eat and being as food is so essentialto our well being, it stands to reason that the more thoughtyou put into your diet and eating habits, the better off you willbe. I make a point to eat a diet of mostly "one ingredient"foods, ie not processed, and as much as possible I availmyself of the rich and diverse supply of food produced in mylocal area of Qualicum Beach. I probably spend a couple ofhours every day shopping for and preparing our main familymeal, but the payoff in terms of health and time together withmy wife and two kids is huge.

CF: But musicians have a reputation for certain excesses.How do you manage to stay faithful to your monogamouslifestyle (we're talking ingredients here) when you are con-stantly on the road?

A: That's funny! Eating well when you are on tour can betough. Catering at concerts can be pretty uninspired, so youhave to make it a priority to eat well. I find that if you engagepeople in conversation about their favourite local restaurants,you can get some good tips. For example, the bassist in that Iwork with in Edmonton loves to eat well, and on his recom-mendation I ate at a fabulous Cajun place that I probablywouldn't have found otherwise. I will also go to the healthfood places and buy bags of nuts and dried fruit. More andmore people are getting turned on to the 100 Mile Diet styleof eating, so it's getting easier to find good meals everywhere.

CF: Mick Jagger once said that all the sex, drugs and rockand roll stuff was just image propaganda that the fans wantedto believe. That in actual fact, the band ate health food,jogged and went to bed early, or they could never hop aroundthe stage like they do. Maybe jazz musicians are different, butyou are making it sound like you exist on trail mix ... whenactually we’ve heard you are something of a cook, and anorganic gardener ... true?

PD: Mick is lying....but I didn't mean to come off as somekind of raw food wacko, I lived on scotch and beer for years.Don't put that in the article! Although, some of my bestfriends are raw food wackos......in fact, I hired a raw foodchef at my Musical/Culinary Arts school last summer) As formyself, I would classify myself as an enthusiastic amateurcook, and a wannabe gardener. Right now I have been reallyenjoying the spot prawn season. I also have the good fortuneto live about 2 miles from Sloping Hills pig farm, which issupplying many of the top Vancouver restaurants. We alwaysrun out of bacon so I go over to their farm gate store all thetime. This is a great time of year as the produce starts to hitthe market, the tides as good for digging clams, and the freshspring salmon is starting to show up. We are in the process ofdeveloping an organic vegetable garden on our 2.5 acre prop-erty. We have a pretty big space for it, but it is a lot of workespecially when you don't really know what you are doing.

CF: Your bio mentions that your trio, Food for Thought,"advocates for the preservation of local agricultural landsand the consumption of locally grown, organic food". Canyou tell us more about that? And by giving the trio thatmoniker, are you consciously trying to make the connectionbetween your music and your culinary ideology, or was it justa catchy name?

PD: You're a tough interviewer, are you sure you didn't usedto work for the 5th Estate? If by catchy name you mean “not

sincere”, then the answer is absolutely not. I live the premise,and think that everyone else should too, within the limits oftheir abilities to do so. But.....it is a catchy name .. a sort ofgastro/musical double entendre, and there's nothing wrongwith that..As for politics, I am opposed to taking farmland out of the

ALR. When all the land is turned into Winners stores, whatare we going to eat, discounted t-shirts? I live on a piece ofALR land, and if I got it removed I could retire, but luckily Idon't want to retire. At this point we haven't done anythingspecifically connected to any cause. I have been hoping thatwe might be approached by one or more of the Feast OfFields type events (like the one in the Cowichan Valley) but sofar it hasn't happened. The band itself is only pretty new, soI'm sure more opportunities will come up.

CF:Where is your PDAMCA school located? And how doyou integrate the appreciation of good food into the musicpart of the curriculum?

PD: After a day of music we take a long (2+ hours) lunchbreak and everybody pitches in on the preparation of thecommunal meal. This year I have a lot more students so I amstill working out the details, but I have a couple of professionalchefs who are helping me out. I have some developing part-nerships with a local organic bakery, Sushi-Mon (a local sushibar), Sloping Hills Farm, Rainbarrel Organic produce, LittleQualicum Cheeseworks, and other farms and culinaryconsultants. We also have a big pot luck dinner/bbq forstudents, friends and family at the end. Last year we hadaround 70 people for that, probably more this year.

CF:What sort of food goes best with Jazz? And don’t say“brunch”

PD: Red Beans and Rice, with sausage.

CF: If the supermarket was a band, what foods would yourband instruments be?

PD:: Saxophone: A rare, rib-eye steak; Bass: Pasta with agarlic/olive oil sauce (because it is filling and fundamental);Drums: Ben and Jerry's Cherry Garcia with a double espresso.

CF: Have you ever composed a piece of music and named itafter food?

Q3: When I worked as a studio musician in Toronto my usualbreakfast spot was the Senator Diner. I always had the samething.....Senator breakfast #2, which was 3 eggs any style,challah toast, baked beans, tomato slice, home fries andcoffee. I always ate it the same way, and one time I waslooking for a tune title and came up with one to describe mybreakfast order..."Scrambled & Crispy". Another time I nameda tune after my favourite Toronto Indian restaurant at thattime, Blues for Shan-e-Hind. I think that's about it.

CF: Do you have a favourite restaurant for listening to jazz?

PD:I have to give the nod to the Cellar, because I like the foodthere quite a bit, and their music policy is world class. But ofcourse, anywhere that supports good, live music is ok withme.

Food For Thought will be playing at the Ironworks onJune 24th as part of the Vancouver Jazz Festival. More information on Phil Dwyer, Food for Thought, andthe PDMCA is available at www.phildwyer.com

Phil Dwyer, saxophone player, is a multiple JUNO winner for Jazz Recording of the Year. He is alsothe principal behind the Phil Dwyer Academy of Musical and Culinary Arts (PDMCA), a popularsummer program that takes place on Vancouver Island.

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Celebrating Our Ocean’s Harvest

Helen’s CookbookBy the artists and writers ofthe Helen Pitt Gallery, 2007

The Helen Pitt Gallery is an artist-runexhibition centre at the far, grungiest endof Gastown. Or it’s trendiest up-and-comingcorner, depending on how you want tolook at it.

Last year, after members had produceda performance art piece entitled Helen’sWedding, a wedding themed banquet andfundraiser, they started to dwell on howmuch food had served as a unifying forcefor the event -- in its planning, execution,and social conviviality.

Discussions led to a book project .... onethat through the medium of art, wouldcomment on society’s social andpsychological connections to what weeat. The resulting Helen’s Cookbook is anensemble effort, yet the contributions ofrecipes, photos, artworks, essays andother interpretive forms of expression areas unique, creative, ironic andindividual as the contributing artiststhemselves.

There is a wine label drawn to look likea bottle of HP sauce, a poem that bleedswords like a well roasted haunch of beef;a log cabin made from asparagus. Not tomention recipes for such things as wienerwater soup, I Ching Apple pie and a Iraqwar-themed Jell-O salad. Many of thesimpler recipes are tributes to grandmothers,but weirdness is in abundance too. Suchas the “Head of Department” Cake, a cakedecked out to resemble a UBC facultymember’s face.

For its $15 price there is a lot packed intothis slim little volumne. Every time welook, we discover something delightfully(or revoltingly) new. Which of course,was the intent behind the book.

Helen’s Cookbook is for sale at theGallery

A Fly in the Microwavewritten and illustrated by Roy MackeySelf Published, 2007

"Fly” is Vancouver metal sculptor Roy Mackay’s"humorous collection of memories about growing up ona small farm in the Rocky Mountains".

To quote from the book's pages: "My sister and I bothloved animals, though for slightly different reasons. Iguess she saw their free spirited beauty that inspiredcontentment. I saw a moving target and a piping hotmeal." ...You get the picture. Twisted yes, but alsohilarious, and a hot selling item in the art circles.

http://roymackeysblog.wordpress.com

Au Pied de Cochonby Martin PicardDouglas & McIntyre, 2007, $60

If we could vote for art book of the year, we would give thehonour to a cookbook. Montreal chef Martin Picard may be acelebrity for his macho-gastro style, but his book is an attentiongrabber all on its own. 600 photos. 50 original illos all puttogether in the sepia-toned collage/scrapbook style madepopular by photographer Peter Beard. Anthony Bourdainwrites a forward to the English version, but the French versionhas the comic strip. There are 55 recipes from the restaurant,(all of the foir gras ones), and oh yes...poutine. Available at all general book stores and from the restaurant.

cookbooks illustrated

gift baskets now available

monday to friday 10am - 6pm & saturday 10am - 5pm450 west 2nd ave., vancouver, bc 604.708.0173

gourmetmarket.ca

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Hester Creek Estate Winery13163 - 326th Avenue, Oliver, BCRoad #8, Open daily at 10 AM

To reserve your suite at The Villa please call: 250 498 4435To order your wine online visit www.hestercreek.com

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In My Baba’s Gardenby Monique Motut-Firth2007

Vancouver artist Monique Motut-Firth createdIn My Baba’s Garden as a children’s storybook, illustrated via designs hand stitched intofelt with embroidery thread.

The “plot”, to excuse the pun, depicts theannual growing cycle in the fruit and vegetablegarden of her grandmother, Polly Vishloff(Baba), a proud Doukobour, textile artist andPathfinder of Mission,BC.

The two women originally intended the workjust as a gift for Monique’s new daughter,Hazel, however it also became a part of arecent Emily Carr exhibition entitled The Artof Food. (See details on page 16).

You can find the book at Little Earth Children’sStore, 2643 East Hastings St., or the VancouverCo-op bookstore on Commercial Drive. Oremail to babagarden@hotmail.com

Special Cookbook By Mary PattersonImages by Shawn ShepherdPolychrome Fine Arts & Publishing, 2007

Mary Patterson is a mosaicist, chef and baker with aresume that includes restaurants such as Bishop’s,Rebar Modern Foods, Brasserie L’Ecole and theItalian Baker.

Shawn Shepherd is successful multimedia artist,best known for his abstract paintings of tangledgardens, typographical lettering and colourfuldepictions of food subjects, such as the “Breakfast”Series.

Together, the Victoria-based couple created thisSpecial Cookbook, as a two year labour of love.

The book is divided into 19 sections, each onedevoted to a single seasonal produce item -- fromapples to watermelons -- with each section introducedby a Shepherd painting from his “Special Still Life”series that nearly jumps from the page with its juicyvitality.

Patterson’s favourite recipes, from grape ice creamto octopus lasagna are intriguing, delicious, yet notintimidating for the home cook.

While the compact book fits snug in the hand, thetype is large and easy to read. All making for a neatlittle present - for a friend or yourself.

Available at Barbara-Jo’s Books to Cooks inVancouver, various locations in Victoria, or online atwww.polychromefinearts.com. $18

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...The Brief

When people undertake the process of growing, harvesting, cooking and consuming food, they partakein the physical nourishment of body, and they are intricately involved in a social experience. Food isnecessary to sustain life, connects us to other living beings, and it is an important part of our socialfabric. Food can contribute to feelings of desire, celebration, pleasure, despair, anger and guilt,and it resides at the nucleus of discussion on topics such as the environment, health, politics,science and beauty. The Art of Food explores the intricate nature of the impact of food on our lives,though an art exhibition, panel discussion, lectures and films.

Last fall, guest curator Randy Lee Cutler, Associate Dean of Integrated Studies at Emily CarrInstitute, and Sadira Rodrigues, independent curator and arts administrator, worked with studentorganizers to select diverse artworks in sculpture, photography, painting, ceramics, book arts, film,and industrial design to represent the significance of food as an integrated component of our socialcondition. These food-related artworks, created by ECI alumni, graduate, and undergraduate studentswere then displayed in the Concourse Gallery of Emily Carr Institute on Granville Island.

To celebrate Granville Island as a creative community and to demonstrate how students can be leadersin the development of creative environments, this event, conceived and organized by undergraduatestudents Debbie Westergaard Tuepah and Wendi Copeland, invited participation for ECI faculty,student alumni, and organizations outside the institute walls. The collaborative approach led to anumber of new ventures and opportunities.

The Sandbar Seafood Restaurant sponsored all the components of the exhibition. ECI CeramicsFaculty member Justin Novak and his students created custom service platters and dinnerware to use-for the opening night event. And ECI student Monique Motut-Firth created a commemorative book, Inmy Baba’s Garden, to give to sponsors, participating artists and organizers of the Art of Food.(See details of the book on Page 15).

Below, in no particular order, is a list of the art created by the students for this event. Each one is a story unto itself.To see a larger image and read the background of each art piece log on towww.cityfood.com/en/media/art_&_design.

1) Slow Bones, by Diana Smith (porcelain)2) Food is Art, by Anthony Zoansky (found objects)3) Asparagus, by Jennifer Stamper-Steffan (brass)4) Liquidation, by Cameron McDonald (mixed media)5) Fruit Head, by David Mook (medium format photography)6) Food Wars, Series #1-12, by Pierre Leichner (digital photographs)7) Food Has Power, by Erica Pang (acrylic, canvas)8) Wave, a Factory Group/Sandbar Collaboration (porcelain)9) Garbage Day, a Sustainability Working Group Collaboration (documentary film)

10) Crab Apple Gown, by Nicole Dextras (crab apples, kale, thorns, hemp thread)11) Toxic Loaf and Bun, by Nancy Strider (salt, yeast, flour, wire, metal spike)12) Napkin Rings, by Diana Smith (porcelain)13) Dancing Potatoes, by Marissa Olson (ceramics)14) Snap Bowl, by Zoe Garred (aircraft plywood)15) Out Daily Bread , by Elizabeth Harris-Nichols (ceramic potatoes, wood chair)16) Bestowal by Carlos Vela-Martinez (dark chocolate)17) Das Crab by Joy Chien (ink and watercolour)18) Downed on the Farm by Gayle Koyanagi (cookies, metal baking racks, plastic tablecloth19) Tonque Sucker by Zarah Ackerman (sugar, corn syrup, colour, saliva) (See page 3)20) Eating-In Vancouver by Ross Milne (paper, digital photography) (See page 3)21) In my Baba's Garden by Monique Motut-Firth (embroidery thread, felt) (See page 15)

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Progress

is very important

and exciting

except food-- Andy Warhol

in everything

Starting May 30th and continuing until August 24th, TheArt Gallery of Greater Victoria will present a tribute to

Andy Warhol in a collection of over 150 of his paintings,prints, drawings, sculptures and films.

For fans of '60s pop culture, Warhol: Larger Than Lifewill be a chance to look at the artist's work up close. Whatmay occur to observers in 2008, is that Warhol's ideas werestrangely ahead of their time, while paradoxically, to ourmodern sensibilities, his subject matter seems more retrothan ever. As New York Times writer Holly Brubach, in herreview of a new Warhol biography, recently pointed out:

“There was a prophetic quality to many of Warhol'sepigrams. His passivity and his voyeurism predated thedawn of reality television and YouTube by some 40 years.One can't help wishing he had survived long enough to usethe Internet.”

Even more parallels between Warhol'smediums of artistic expression and that ofpost millennial culture could be made. Hisparty Polaroids had the same invasive“gotcha” quality of cell phone photos. Thedrop in, friends-bring-along-friends atmosphereof his factory studio was like a Facebookpage in real time. In the same way thatWarhol brought a kind of low-brow legitimacyto art in the sixties, modern technology hasequally democratized media and the controlof information in our own times.

Much of Warhol's most iconic work weresimple graphic representations of commonfood products. The famous Campbell's soupcans are the most obvious example, but otherthemes of everyday junk food that repeatthroughout his work include images ofCoca-cola bottles, Lifesavers, hot dogs,bananas and cocktails. Even his grainy, 8-millimeter films such as Andy Warhol Eats aHamburger, Mario Banana (which will bescreened during the Art Gallery show), andanother 45 minute film of an artist eating asingle mushroom, slowed down the publicperformance of eating to the point offetishising or the pornification of food.

Similar to our obsessions of today,Warhol's artistic commentary about modernlife focused on the cheap reproduction offood for consumption by the masses - theuniformity of processed food, its predictability,and most of all, its ubiquitous presence. Hewas facinated by how a product’s brandingand its advertising aura was more real to theconsumer than the product itself, and what itwas composed of.

And yet, Warhol felt these elements to bewondrous rather than sinister. He himself,claimed to have eaten the same brand ofsoup every day for lunch for over twentyyears. He found a certain comfort and securityin the fact that in all that time, it had alwaystasted and looked exactly the same, and thatthere was no reason to believe that it wouldnot always continue to do so.

My name is AndyWarhol and I havejust finished eatinga hamburger.

A Warhol in your kitchen?Artist Chis Plummer designed theCampbell’s soup stove hood above

and the Warhol portrait dishwasher(left) as part of the“Warhol Collection”for Metallo Arts

I like: pears, coffee (though not cappuccino), tarte tatin, cocktails at l'Archiduc,,

cinnamon-flavoured anything...

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Warhol the diarist of banal A-list cocktailchatter... ”I used to go to parties everynight..one after another, most of the timegoing all the way around the room and rightback out the door. I’d make an appearance.Lots of them. That’s how I’d remind people Iwas still alive. Now I wish I’d thought oftelegrams.”

The Fairmont Empress'Tribute to Andy Warhol:

TThhee AArrttiissttiicc EEnnddeeaavvoouurr::

1 tulip glassice1.5.oz Belvedere Pomaracacranberry juicetopped with sodadrizzle of blue curacauGarnished with an orangetwist(It's red white and blueand a touch of orange)...not too sweet.

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We first encountered the work of the“Cameraman” when someone

alerted us to the fact that there was adumpster on Blood Alley decked out tolook like a Louis Vuitton train case.

We didn’t believe it. Yet sure enough,the proof arrived in our email box in theform of a photo straight from the iPhoneof Scott Hawthorn, one of the owningpartners of the nearby restaurant, SaltTasting Room.

There it was alright, in all its ironicsplendor, carefully worked so that eventhe stitching and handles were faithfullyreproduced in photos that had been blown upto scale and painstakingly decoupaged ontothe surface of the rubbish bin.

Who would do such a thing, only toabandon it in the worst possible setting?It had to be the work of someone with

either a bizarre sense of humour, or a serious canvas shortage. We ran down to take a closer look, but by the time we got there, the project, if not

completely destroyed, had become altered, morphed into something else -- its paper tornoff, or where strips still existed, covered with graffiti, rotting garbage and other things thatare best not mentioned. Which was possibly what its creator had intended to happen.

Who was the mystery artist? No one seemed to know. An Internet search turned upevidence of similarly decorated garbage bins, and led to an artist by the name of“Cameraman”. Eventually it was staff at Boneta restaurant, located just around the cornerfrom the Vuitton piece, who provided the contact we needed. (Seems that after the artwork firstappeared, they had wheeled it around to the front of the restaurant and held a cocktail partyaround it.) And it turned out that Cameraman (Byron Dauncey) and his collaborator in art,Andrew 01 (Andrew Owen), were very well known indeed, to their own undergroundartistic circle and to other art lovers such as the novelist Timothy Taylor, author of StanleyPark. On page 24, we pull Taylor away from his work on a new novel to be our interpreterfor a style of artistic expression that the two artists term -->

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We first encountered the work of the“Cameraman” when someone

alerted us to the fact that there was adumpster on Blood Alley decked out tolook like a Louis Vuitton train case.

We didn’t believe it. Yet sure enough,the proof arrived in our email box in theform of a photo straight from the iPhoneof Scott Hawthorn, one of the owningpartners of the nearby restaurant, SaltTasting Room.

There it was alright, in all its ironicsplendor, carefully worked so that eventhe stitching and handles were faithfullyreproduced in photos that had been blown upto scale and painstakingly decoupaged ontothe surface of the rubbish bin.

Who would do such a thing, only toabandon it in the worst possible setting?It had to be the work of someone with

either a bizarre sense of humour, or a serious canvas shortage. We ran down to take a closer look, but by the time we got there, the project, if not

completely destroyed, had become altered, morphed into something else -- its paper tornoff, or where strips still existed, covered with graffiti, rotting garbage and other things thatare best not mentioned. Which was possibly what its creator had intended to happen.

Who was the mystery artist? No one seemed to know. An Internet search turned upevidence of similarly decorated garbage bins, and led to an artist by the name of“Cameraman”. Eventually it was staff at Boneta restaurant, located just around the cornerfrom the Vuitton piece, who provided the contact we needed. (Seems that after the artwork firstappeared, they had wheeled it around to the front of the restaurant and held a cocktail partyaround it.) And it turned out that Cameraman (Byron Dauncey) and his collaborator in art,Andrew 01 (Andrew Owen), were very well known indeed, to their own undergroundartistic circle and to other art lovers such as the novelist Timothy Taylor, author of StanleyPark. On page 24, we pull Taylor away from his work on a new novel to be our interpreterfor a style of artistic expression that the two artists term -->

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CityFood: You are a novelist, presumably toiling over your craft in solitude. These guys arevisual artists using the back alleys of Vancouver as their public "gallery" How did yourpaths happen to cross?

Timothy Taylor: The studio from where Andrew Owen [also known as Andrew 01] works isactually just down the hall from my office in the Dominion Building. It’s a friendly building,so we got to talking. He’s a raconteur of unparalleled skill and intensity, as it happens. Butour interests were also weirdly overlapping at the time we met. He had returned from Asia notlong before, and had done a lot of work I really admired that seemed to follow the theme ofhow identity survives in highly mobile environments. I was right in the middle of an essayseries for enRoute Magazine at that time about human mobility and our changing relationshipwith it. So we had lots to talk about.

Byron Dauncey [alias Cameraman] I met later, after Andrew had begun to use the street inhis Local Photo Poster series. He’d heard that Byron was tricking out a railway transformerbox to look like an alarm clock, set to ring at 9AM on the first night of last year’s EastsideCulture Crawl. I knew I had to see it. So I went down. When Byron's clock went off, a lightcame on and this huge clock loomed out of the shadows. Byron’s partner on the project, anartist named Emma, had rigged about 100 battery powered alarm clocks in zip lock bagsaround the piece. So in addition to this kind of ghostly monolith, the air was full of this etherealbeeping, oddly urgent and tranquil at the same time. People up and down the street just froze,listening, which I think is the effect when intensely familiar experiences are displaced andreworked.

I had just started work on a novel that had a street artist character in it around this time, sothe timing of the clock seemed strangely fated.

CF: Andrew and Byron told us that before they met, each kept hearing about another artistwho was “doing the same thing” and that they were even being mistaken for each other. Infact, we understand Byron contacted Andrew after reading about him in an article you wrotefor a local newspaper, and thinking 'Aha, He must be the guy! Do you think their work is verysimilar? Or if not, how would you say it is different?

TT: Byron read my Globe column where I wrote about Local Photo Posters. Andrew hadwalked me around the Downtown Eastside showing me all these shots he had posted, 1:1 ratiophotos [100% proportional] of distressed urban surfaces that he postered directly over the dis-tressed surfaces they duplicated. The work was, at least on one level, a kind of object-subjectconfusion play. The photo and the wall are different, but how exactly? Andrew is into ZenBuddhism, in the pursuit of which questions of this nature are all-consuming. And I think thatthis kind of provocation, this business of making people think about the difference betweenreality and representation, is central to Andrew’s project.

Byron, at the same time this all was going on, was involved in a number of projects that Inow see were stemming from a similar impulse. He was posting these stickers everywhere,these last-generation light switches and electrical sockets. They’d be posted in various sizes,sometimes life size (a plug socket showing up at the base of a wall covered in graffiti, forexample), sometimes iconically enlarged (a huge light switch on the outside of the InterurbanGallery). The familiar in the wrong place. The invisible made very visible. But he was alsodoing a set of pieces that involved taking a photograph of a site, then posting that photographnear the site, and photographing the original photograph in the same spot. The resultingphotograph-of-the-photograph would then be posted in the same place. So you had awoman’s feet walking down a sidewalk, posted to a hoarding directly above the spot whereshe had walked. And the photograph of the woman’s feet photographed again as a differentwoman walks past the poster, her feet describing the same arc.

You can probably see the affinity that might form here. Photos-of-photos. Site drivenimages displayed in-situ. I think these projects arise from an impulse to push a person andmake them wobble briefly in place, seeing themselves where they stand, and forced to con-template, in however oblique a manner, the gulf that may or may not yawn betweenperception and reality.

CF: So if we understand what you are saying, then to take a photo of an object is to recreateit in a different dimension and element, and by placing the replication in proximity to theoriginal, it forces the viewer to look at both from perspectives that they have not beenpreconditioned to.

TT: I think that’s definitely part of how this kind of work affects the viewer, consciously orotherwise.

CF: But how much of a role does the choice of medium play? And does the artists’ choice ofrepellent, unattractive objects (back alleys, stained and crumbling walls), actually enhancetheir message, or so get in the onlooker’s way that it becomes a barrier to understanding it?

TT: I tend to think it enhances the message because the medium is also the subject of thework. Both Andrew’s and Byron’s work is, in at least some part, about the exact surfaces onwhich the work is inscribed: the back alley, the stained and crumbling walls.

CF: Let’s talk about the dumpster in that context, then. That was actually what tweaked ourinterest in the first place. After years of working to glamourize food, we stumble across

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The Kinetic Re-Photo-Cubic Revolution Continues:A conversation with novelist Timothy Taylor

...continued on page 38

Pg. 20, 21, 22, 23,24,25,38 6/10/08 1:41 PM Page 6

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What they did for art ...It’s not always about oil and acrylic paint, charcoal,watercolours or clay. Sometimes the textures andcolours of food tempt an artist to use it for worksof art that despite a short exhibit life, may eventurn out to be good enough to eat.

* In 1992, The artist Janine Antoni chewed 600-pound blocks of chocolate and lard to create heartshaped boxes and lipsticks for an exhibit entitled“Gnaw” at New York’s Sandra Gering Gallery. InLick and Lather (1993) she licked similar blocksof chocolate into the form of her own head, usedthe busts to smear chocolate over her body andthen washed herself with soaps, also shaped toresemble herself.

* Getting personal..Daniel Bozhkov used yogurthe had produced from live cultures reinforced withhis own DNA for a 2002 art installation calledBefriend the Bacteria at the Memorial Sloan-Kettering Cancer Center in Manhattan.

* Photographer Vik Muniz recreates culturalicons such as the Mona Lisa from kitchen pantryitems such as spaghetti, peanut butter andchocolate syrup, then photographs the results. Hehas exhibited at the Miami Art Museum.

* For the past 22 years participating artists at theJell-O art show in Oregon’s Willamette Valleyhave created wiggly, jiggly sculptures from multi-coloured gelatin. Life size models of derrieres andbrains are a repeating theme.

* With its SUG@ART PROJECT, Figli di PininPero, an Italian sugar manufacturer, offered artistsa sweet deal to turn their individual sugar packetsinto tiny art canvases. Now up and coming Italianartists are finding a whole new audience for theirwork

* Rirkrit Tiravanija reproduced his apartment fora show at the Serpentine Gallery in London. Acomponent of the art was an invitation to visitorsto use the kitchen to cook lunch for each other.

* An obsession with ‘50’s style coloured photosof luncheon meat platters led artist Julia Jacquetteto reproduce the images in enamel on wood pan-els, to which she then gave longing titles such as“I can’t get the thought of you out of my head” or“I Can’t stop thinking about your beautiful face.”The exhibit appeared at New York’s HollySolomon Gallery.

* A Belgian company called Dinner in the skyhas held performance art dinners by danglingguests seated at one long dinner table, 50 metresabove ground from a construction crane. Theyhave held the dinners in Lisbon, Dusseldorf,Cannes, London and Monaco.,

* Conceptual artist and chef Mary Ellen Carroll isin the process of creating a massive art project.She is literally flipping a three-bedroom Texashome upside down. Structural engineers, follow-ing her instruction, will lift and spin the buildingaround, before returning it to its foundation andreconnecting all the systems. Ms. Carroll is famousfor a series of performance pieces she called“itinerant gastronomy” where she and collaborator,Donna Wingate, cook elaborate meals in inhos-pitable settings - such as perched on the GoethalsBridge, between Staten Island and New Jersey.

* For his solo show at the Adam BaumgoldGallery in New York, architectural artist ScottTeplin envisioned roofless houses carved out ofblocks of butter or giant doughnuts.

CitySpace:Power, Art andPublic Space.

In this fascinatingdocumentary shot inVancouver, CraigNoble, the filmmakerwho brought us

Tableland , examines the showdownbetween youthful graffiti bombers and citybureaucrats over the grey area wherefreedom of expression collides with socialresponsibility. Is it art, or is it vandalism?Watching this film might change your mind. www.cityspacemovie.com

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TERRY SOMERVILLESous Chef, formerly at Bishop’s, now at SenoraResort, a fly fishing lodge off the north coast ofVancouver Island.

How old were you when this tattoo was inked.

I’m 30. The tattoo was completed only one weekbefore the photo shoot for this article.

How long did it take to complete and where did youget it done?

At Custom Tattoos in Vancouver by tattoo artistAdam Sky. It took five painful sessions, three hourseach session. I went once a month for five months.

What were you thinking?

The tattoo pays homage to my Scottish heritage. Mymother’s maiden name is McMillan, which is one ofthe oldest Scottish clans. This gaelic design is theMcMillan cross, a 15th century stone cross. Ichose to have a dragon wrap around the cross torepresent wisdom, strength and longevity. At thebottom, the dragon is holding the McMillan familytartan in its claw.

Let’s hope you weren’t adopted ... sorry, bad joke ...actually, what did your Mother think about this idea?

I recently went to visit my family in Toronto rightafter my tattoo was finished. Everyone liked it, evenMom. Although she cringed and shook her headwith disapproval when I said I was going to get myentire back done.

Why do you think chefs are prone to getting tattoos?

Chefs are very artistic and creative by nature, so itdoesn’t surprise me that many chefs have tattoos. Itallows them to express themselves through a differentart form.

NOTHING BUT THE

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GORDON MARTINChef/Owner, Bin 941, Bin 942,Go Fish

What does it say on your tat?

“Cooler than Jesus”

What does that have to do with asexy nurse?

No comment.

Where did you get it done?

In Mexico. I don’t remember thecircumstances.

How old were you when you gotit done?

Old enough to know better.Young enough not to care.

Why do you think chefs are sofond of their tattoos?

Why wouldn’t they be?

JUAN GONZALESChef, Tequila Kitchen

Where did you get it done?

In Sicatela, Oaxaca, Mexico. I heard that a good tattoo artist was going to be in town for two days, soI stood in line to see him. I asked for the hat with the steam, and he come up with the rest.

Why a steaming toque? Are you a hot head?

Well, in the beginning it was just because I am a chef, and because chefs’ kitchens are always hot,and you always have to move fast and never stop. But all this year it has also helped me to remembernot to quit when things get tough, and that it’s important to stick to your plan.

Are tattoos as popular in Mexico as they are here?

People have them, but it means something different. In Mexico, it is considered lower class -- for gangmembers, or people who have been in prison. So sometimes people get them but don’t show them.

What is your dream tattoo that you would like to have some day?

I want my little Rosa Chicana. It’s a Mexican sweet - a little sugar skull drawn inside a rose.

kitchen inkChefs are not particularly known for wearing theirhearts on their sleeves, but hidden under thosewhite jackets, that may well be the case.

A few top chefs, known to be concealing asecret bit of body art or two, bared their tattoosfor photographer Hamid Attie’s camera. And toour surprise, there were few designs of fooditems, or even chefs’ knives among them ... butinstead, a lot of images that turned out to be somuch closer to their heart’s true reflection.

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ROBERT BELCHAM

Chef / Proprietor, Fuel Restaurant

How old were you when first got interested in body art?

I was 20.

You have two full sleeve tattoos and they are not hard tospot because you often wear your jacket sleeves pushed up.

I got those done in 2000, at a shop called Godspeed Tattoo.

It is in San Mateo California, just south of San Francisco.

The artist’s name is Kevin Marr. I was 28 years old at the

time. It took 70 hours of work. Two 4-hour sessions a

week, for about a year. With time in there for healing.

That was a huge commitment. These designs have a lot ofpattern, but we can only see a couple of details in thesephotos, one of a demonic gargoyle like character, andanother of what would appear to be a fetus inside of an egg. What significance do these symbols have for you?

These pictures are on the inside of my left arm. I have a stained glass theme on both of my arms, and

as with most stained glass, there is a narration line that connects the different images. This one is the

story of the cycle of life: birth, life, death and rebirth.

What does your family think of them?

My five year old son, Eli, calls them “cool”.

What is the tattoo you dream about getting some day?

I would really like to get a whole back piece done. Maybe if I spend some time in Japan.

What is your theory on why so many chefs have tattoos?

Cooks are a certain breed of people who live on the periphery of society. The late nights, and abun-

dance of alcohol mixed with a sports team mentality, plus bravado, make for a person who doesn’t

really give a fuck about what regular people think.

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MARK THOMAS BRAND(pictured left)Restaurant Owner, Barman, DJ,Boneta Restaurant

What’s the story of your first tattoo?

I was 14. It was 1990 and the personwho did the job was an old sailortattooist named Merchant Marie. Allmy friends got their first work donewith her and we all still regret it. Shechain-smoked the whole time and hadthe DTs.

You now have a more recent, and veryvisible tattoo on your neck, tell usabout that one.

”Boneta” is my mother’s name. She’sbeen my mentor, level and inspiration.I chose to put the tattoo on my neckbecause I wanted to see it first thing inthe morning, to remind me why I dowhat I do, and to remain focused.

What was your mother’s reaction, orfor that matter, that of your fiancée?

Ha, ha. My mother was an etiquetteteacher (I know), so you can imaginewhat her reaction was. That beingsaid, it’s hard to get mad at a tribute,especially when it’s to you. Myfiancée loves it; she gets it. It’s one ofthe many reasons we are gettingmarried.

Do your customers at the restaurantever comment on the tattoo?

Every day, and I get to tell them thestory of who Boneta is, and how myamazing partners chose the name toalso be the name of the restaurant. Itgives our customers a window into theethos we live our lives by and ourmantra of “Family” -- blood, or not.

What is the tattoo you dream aboutgetting some day?

Like all people with a bunch of ink, Ihave a master plan. I’m working withPaul Tynes from The Fall Tattooing onour joint vision of what the final workwill be. He’s incredibly talented, andincidentally, also from Dartmouth.

What is your theory on why so manychefs get inked?

I’ve never given it that much thought.I think it is really a more personaldecision combined with the fact thatthis line of work attracts such creative,crazy assholes.

STUART IRVING

Chef/Co-Owner, Cobre restaurant

How old were you when you gotyour first tattoo?

I was 12 years old. The shop was

called Mystic Needle, and in those

days, it was one of only about five

shops in the city ... times have

changed a little. It’s all covered up

now, but it was a small cartoon

bulldog, wearing a tam, and

smoking a cigar ... I was certain it

was going to make me tougher.

Twelve? Yikes! Did you catchtrouble for it?

I definitely got in trouble, but not

right away because I managed to

keep it out of my parents’ field of

vision for a few years -- until I had

a wardrobe malfunction while

coming out of the shower, just as

my Mom was passing in the hallway.

You have a lot more ink now.

I actually never planned to have

this many tattoos. It just sort of

happened. If I’d known what I was

going to end up spending on them,

my Scottish blood would have

prevented it.

Hey, what’s with this Scottishtattoo gene? You even have a tinythistle next to your eye ...

Yeah, a small Scottish weed. I got

it in Toronto one night at the end

of a three day bender. I don’t really

remember too much, but I must

have been feeling very patriotic. I

basically woke up the next morning

and realized what I had done when

I looked in the bathroom mirror.

Good times.

So, was that the last one, then?

No, I still plan to get a globe of

the world tattooed on my head.

... Just kidding, Mom.

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JEFF VAN GEESTChef / Owner, Aurora Bistro

Where did you acquire the tattoo on your arm?

In 2005, at Inkbomb on Main St in Vancouver. I was 32 when I gotthis piece done.

What’s the significance of the dragon?

It is a 4-clawed, Chinese Dragon, which symbolizes power -- thecommon main, and power over rain in relation to agriculture. I likethe mythical qualities and the individualistic power of dragons. Thistattoo is also biomechanical (part robot). That doesn’t have anymeaning; it’s just cool. I also have a tattoo of my son’s name andbirth date on my left bicep

What is the tattoo of your dreams?

Either a pirate ship or a buck rearing up on his hind legs and burstingout of a forest with its muscles rippling, teeth bared and steam com-ing out of his flared nostrils - a big, scary buck.

Why do you think so many chefs have tattoos?

I think there are three possible answers. 1) It’s because we are allhardcore lowlifes who are half a step out of the gutter. 2) We allwanted to be rock stars but none of us could play an instrument.3) Tattoos are so main stream that a lot of people in “regular” jobs

have them too. You just don’t see them as much. I actually don’tthink chefs have a higher occurrence of tattoos.

LILA GRACE GAYLIE Owner/Operator of Lolita's South of the Border Cantina, Me & Julio’sModern Mexican Kitchen & Cantina.

Tell us about your tattoo art.

The tattoo on my arm of the fairies was done in 1996 by a tattoo artistwho used to spend her coffee breaks at the Vietnamese restaurant where Iwas working in Toronto. She became a close friend and she hand drewthis piece for me from my childhood memories of growing up in theforest on Vancouver Island. It depicts two fairies that are chasing the windthrough a garden of lilies and blossoming cherry trees.

The tattoo on my chest was done more recently in 2006/2007 by thelocal artist Adam Skye. It is a cover up of the first butterfly tattoo that Igot when I was 13. I’m sure Adam was shocked when I walked into hisGastown studio with a huge antique framed portrait of the Garden ofEden under my arm and asked him to recreate it. The painting used tohang above my parents bed. As a small child I would stand for hours andgaze at the beauty of this scene and wonder where the garden led to. Thetattoo is actually a dedication to my mother, who is my best friend, and itwill always remind me of family and love and eternity. In fact, I refer toall my tattoos as “my gardens” because they are colourful and flowingand playful.

How do your customers at the restaurant react to your tattoos?

One of my favorite memories was serving a family that had a six-year-olddaughter. She was very creative and I gave her some paper and markers toplay with while her parents were dining. She asked me lots of questionsabout my tattoos and seemed quite taken with the fairies and flowers. Ipopped by the table again later to find the girl had drawn flowers andfairies all the way down her arm with the markers. I almost cried at thesweetness and artistic talent of this child. Pretty cool parents too!

What is the tattoo you dream of getting some day?

I dream about getting my fairy wings finished. It is a piece of art thatgoes from my shoulders to my knees and wraps around my body. It's bigbut I'm excited about finding some time and money to finish it.

Why do you think so many people in this industry have tattoos?

Because they can. Not only are people in this business creative, but theyalso have the endurance to withstand sharp knives, hot stoves, endlessheat, and all kinds of performance pressure on the job. Being tattooed issomething we can do for ourselves and ourselves alone. We like to takethe plain and the mundane and make it look beautiful. Whether it be spiceto food or ink to arm.....everything looks better with a little color.

Do you think they will still be beautiful when you are old and grey?

By the time I get there I’m sure there is going to be more than one tattooedand wrinkled body in the old folks home. I say “Cheers.....save me abridge game!”

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My name is DuncanMcCallum. I’m 41 years oldand I design and renovateaward-winning restaurantinteriors, including Aurora

Bistro in 2004 andBoneta in 2007.

‘500 Bottles of Beer on the Wall’hangs over the bar at Boneta and itwas driven by guilt over my alcohol-

fueled neglect of an ex-girlfriend.

It’s constructed from laminated, bendingplywood, sheet aluminum, wood veneer, acrylic

and industrial enamels.

I was born in Sweden, but was brought up in WestVancouver. I am self-taught in my fine art. I've made art

since birth, and have exhibited it for 25 years.

I'm inspired by Warhol, Damien Hirst, David Salle,Basquiat, Frank Gehry, Zaha Hadid, comics, animated

film, contemporary pop culture, etc.

The shape of appetite is ideally elliptical.The colour indigo tastes like BLACKBERRY PIE!!!

Parties interested in Duncan’s work may phone him at 604-728-8114or email duncan@3dmc.ca.

His full bio is on the Boneta websiteat www.boneta.ca.

ENTER HERE ------>TO SEE MORE RESTAURANTART THAT SPEAKS TO US.

PHOTOS BY HAMID ATTIE

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Briettaby Erin Evans

Acrylic paint on glassOn exhibit at Boneta Restaurant (right)

Erin Evans paints professionally and is also employed within therestaurant industry as the head hostess for West Restaurant. See more

information on Erin and her art work on page 38.

YOUNG ARTISTS INA RESTAURANTLANDSCAPE

Man cannot live by bread alone ... even in a restaurant. That’s a proverbwe sometimes want to remind the waitstaff of when it feels like the firstcourse is never coming to the table. And of course, we mean it here inthe proverbial context too. However, is it not a coincidence that in thosetimes when you are waiting for your dinner companion to arrive, or havefinished perusing the menu -- when it’s just you alone with the breadbasket -- that you have the time to sit and contemplate what’s on thewall in front of you? Hopefully, if you are in a room where the managementis enlightened and understands about these moments, they have given yousomething nourishing for your eyes to ponder upon. After all, what makes fora better public art space than a place where the public goes to be fed?

For those of you who have ever taken a liking to a work of art at afavourite restaurant and wondered who made it, or why, here’s a few ofour favourite pieces and the stories of the people behind them.

After all, you never know with art you see in restaurants. You might belooking at the work of someone who is about to become famous, or eventhe person who has come to your rescue with the appetizers.

Pictured Above: Left to Right: Charles Forsberg, Duncan McCallum, Erin Evans

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D.The View From Here - on exhibit at Chow Restaurant (above)

Regret - on exhibit at Boneta Restaurant (left)

by Charles ForsbergOil paint on canvas

The piece at Chow was painted for the room. The title 'The View From Here' has adouble meaning. On one hand, it literally represents the view from both Chow andmy studio, looking north at the mountains. The other meaning is a metaphor onwhere I am at this point with my artwork and the unique path that is ahead of me.“Regret” expresses the idea of regrets, but not in a negative way. It is about being atpeace with the decisions we make and understanding the sacrifices all of us livewith along the way.

Both of these works are painted on canvas. I use a high quality hand made oil paintout of New York, I paint with my hands (I wear gloves), and use no solvents orthinners in my process.

The works at both Chow and Bonita were hung there because of the relationshipthat I have with the owners of both restaurants. Mike Thompson (Chow) and NeilIngram (Boneta) have been supporting my independent art shows since 1997. Thishas created a community of like minded people who are interested in showing thecreative talents of each unique restaurant.

I am a self taught and independent painter. I have been doing art for as long as Ican remember, it is just part of my day like eating and sleeping. I was a docent atthe Vancouver Art Gallery for the last 12 years and have travelled extensively to themajor art cities of the world, plus I like to keep a close eye on what is happening inVancouver as well. We have some great talent in this city. I am influenced byCanadian artists Gordon Smith, Jack Shadbolt and Jean-Paul Riopelle. As well asMark Rothko, Cy Twombly and Anselm Kiefer.

I work as the barman at Parkside restaurant. I really enjoy socializing with peopleafter a long day or night at the studio. It keeps things in balance. (Plus, I make apretty good bourbon sour.) Food,drink,service,design and artwork all come togetherto create this experience.

More of Charles Forsberg’s works may be viewed at www.charlesforsberg.com,There is also contact information if you would like to visit his studio.

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Nodding Onionby Emily Miles Acrylic paint on canvas on exhibit at Aurora Bistro (above)

I’m an avid supporter of Aurora restaurant on Main Street because the food isfantastic and chef/owner Jeff Van Geest is a friend of mine. Jeff was interested inthe painting series I am working on, and so I happily offered to create thispiece, Nodding Onion, specifically for his restaurant.

I chose this edible BC flower because I wanted to highlight Aurora's dedication tolocal, organic ingredients. However, the series of which it is a part (settingrealistic flower forms beside imagined, cartoon-like figures), is also inspiredby the strange beauty of children and flora, as well as the superstitions andfaerie stories of Northern Ireland and Great Britain -- where beautiful creaturesand gardens lure unsuspecting passers-by to their deaths.

For my own background, I was born in 1979 in Kelowna, BC, and grew up ina home where there were more paintings than walls. My father, an artteacher, taught me the difference between acrylic and watercolour before Icould read, and encouraged my penchant for drawing and painting. Uponcompletion of my BFA at the University of Victoria, I followed my desire toseek out fresh subjects and travelled the world: Europe, Asia, and the Pacific.I have also participated in illustration workshops at the Central Saint MartinsCollege of Art and Design in London, and the Emily Carr Institute of Art andDesign in Vancouver. My work has been exhibited in Canada, Taiwan, andAustralia.

I am inspired by visual artists, but also by illustrators and comic artists: PaulKlee, Maurice Sendak, Craig Thompson, James Jean, Geneviève Castrée --and all the preschool children I teach at Arts Umbrella. I like to read Sendak’s“Where The Wild Things Are” to my young students. I find it exhilarating everytime!

Read more about Emily Miles on her blog at www.emilymiles.com. Or email her atemilybmiles@yahoo.ca.

Chicagoby Johnny TaylorOil paint on canvasOn exhibit at Boneta (right)

This painting came to behanging at Boneta throughmy association withCharles Forsberg, andthen my invitation from thepartners at Boneta whosaw it last November atmy one-man show onClarke Drive. Chicago it ispart of my 'signature theme'and is representative of the mainstream of my current work.

I’m 35 years old and was born in Cobourg, Ontario. I have beenseriously pursuing art for the last ten years, with a marked upswingin the last five. I am self-taught. (In 2003 I was selected as ascholarship candidate for the Art Institute of Chicago but didnot proceed due to further financial considerations.)

My inspirations are several. One of them is my maternalgrandfather, Istvan Imre of Hungary, recipient of both theMunkacsy and the Kossuth awards. Speaking generally Iam inspired by the German Abstract Expressionists and AsianTraditionalists; and speaking more specifically, I am inspiredby the work of Anselm Keefer, Jean-Paul Riopelle and Vierade Silva.

You may see more of Johnny Taylor’s work at the Elliot Louis Gallery,http://elliotlouis.com. He may be contacted through the gallery. (Pleasenote: that 'Chicago' was on display at the time this article was written. Ithas now been exchanged with 'Connectivity’.)

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by Philip MartinAcrylic paint on canvasOn display at Cru Restaurant (above)

This is a painting of the Granville Bridge and Granville Island, viewed from False CreekSouth. It is what I see from my studio window. The piece is part of a body of workcapturing the changes of light, throughout the days, and seasons, in the manner of theImpressionists. The owner of Cru, Mark Taylor, is a friend and patron. I have had art ondisplay at the restaurant since it opened. I have found that the people who appreciate art,and lovers of food and wine are one and the same!

I am 39 years old and from Quebec. I have been “seriously” painting since 1992; goofingaround with art for much longer. I’ve studied with painter Angela Baker, Ph.D., in Newfoundland, and Fine Art at Acadia University, inNova Scotia. Over the years, a lot of art from history has inspired me, however there isnothing more inspiring than to be in a culture that celebrates artists as valuablecontributors to society. For that reason, I spend a fair amount of time in Italy, They trulynurture their artists. And that’s what’s truly inspiring: the enjoyment of others.

As an artist, I am an independent, which has pros and cons; most of my patrons buydirectly from my studio, and I regularly host visits.

When I am not painting, I am a server at Tapastree Restaurant. As well, I have taughtwine classes and seminars for several years. (To me, the taste of indigo is bestpersonified by the wines of Michel Roland.)

See more of Phils work and contact him at www.philmartinart.com.

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AND AFTERWARDS WE ORDERED THE DESSERT PLATTER

pastries by lisa perkins, executive pastry chef

brix restaurant & wine bar

photos by john sherlock

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Desserts from one o’clock, clockwise:

* Mini Apple Turnover with Mascapone Cream, Orange Confit* Raspberry, Lime and Jalapeno Sorbet* Lemon Posset with Citrus Compote and Ginger Cookies* Ice Cream Cookies (Peanut Butter with Banana Ice Cream; White

Chocolate and Lemon with Blueberry Ice Cream) with Hot FudgeDunking Sauce

* Milk Chocolate Cheesecake with East India Spiced Shortbread andPoached Pears

* Rhubarb Crumble, Honey Thyme Ice Cream

Lisa Perkins – Pastry ChefBrix Restaurant and Wine Bar

After graduation from the Pastry ArtsProgram at the Pacific Institute ofCulinary Arts, Lisa joined the Opushotel as Assistant Pastry Chef atElixir. She later became Pastry Chefat Raincity Grill, working with ChefSean Cousins. Next she joinedChocolate Arts as Chocolatier toowner and Master Chocolatier GregHook.Now at Brix Restaurant andWine Bar, Lisa is their full time Pastry

Chef, an in-house position that only a few restaurants inVancouver can boast. At Brix she produces bread, pastries,desserts and fresh ice-creams and sorbets daily. Her style iselegantly rustic, simple and not overly sweet. She workswith fresh seasonal ingredients and likes to incorporatesavoury-sweet flavours such as lemon thyme, lavender andbasil -- all of which add a familiar yet surprising element toher desserts.

Lisa’s Lemon Posset

4 lemons250 grams of sugar

500 mL whipping cream

Squeeze and strain lemon juice.Place the lemon juice and the sugar

into a small sauce pan and bring mixtureto a boil over low heat, stirring continu-ously until the sugar has dissolved.

Keep warm on the side of the stove.Meanwhile, in a second pan, bring

the cream almost to the boiling pointand then pour it over the warm lemon mixture.

Strain the mixture into a jug ormeasuring cup and pour the posset intoindividual serving dishes (ramekins,glasses...)

Place in the refrigerator until set,approximately 2 hours.

Serves four.

Pg 36, 37 - Pastry Chef 6/4/08 11:28 AM Page 3

someone who had gone into the forbidden zone and was actuallybeautifying an end product of food production - the containers holding allthe discarded and decaying waste of a restaurant’s kitchen. That’s some-thing that people try very hard to hide from view, it’s the opposite of theimage they have worked so carefully to create. So to us, it was a fascinatingchoice of medium.

TT: Well exactly, although the emblem created there might not be pointingback upstream just at food consumption. The dumpster is the destinationfor all manner of consumer goods. With the treatment Byron gave thedumpster, sure, he beautified this thing that governs the ugliest end of theconsumer digestive track. But he also drew our attention to it in such away that provokes us to think about our participation in the happier,shinier parts of the whole consumption drama. I don’t find this workparticularly political or judgmental. It just seems very aware.

CF:The big risk that we see, is that many people will look at this art andimmediately dismiss it as another form of graffiti -- or worse, the simpledefacing of public property.

TT: Well graffiti is in the galleries now and Banksy is selling for whatever, alot. Which may mean nothing to the artistic value or intellectual content ofthe work, but it’s highly relevant to the question of how people view thework. And in that regard, I have no difficulty imagining something similarhappening in this realm to what happened already some time ago in so-called “outsider art”. A flocking of interest and the emergence of newconnoisseurs. It has happened so often that I can’t believe that street artwould be spared.

CF: But Byron and Andrew say they use the street as their canvas and theirgallery only. They passionately declare that they are not street artists. Can thepublic be expected to understand the difference? Or do they need to?

TT: Well, the public probably won’t understand the difference as long asthe work is being put up in the street. There, no matter what the artistsintention, I think a particular kind of intersection is formed between viewersand artists. The viewer sees something that the forces of nature cannotfully explain. Where did this come from? Why did the person do it?Sometimes, as you point out above, the response is even more towardsindignation, more along the lines of: How dare someone do this here? Butno matter, the street provokes these types of questions. And as questions,rightly or wrongly, they tend to lose their perceived mystery when paintingsare hung in a gallery. The street has a certain power that way.

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.... continued from page 32/Young Artists In a Restaurant Landscape

Briettaby Erin EvansAcrylic paint on glassOn exhibit at Boneta Restaurant (see page 32)

I graduated with a Bachelor of Fine Arts from Emily Carr Institute of Artand Design in 2000. After graduation, I left Vancouver for Japan, and laterKorea to explore the art and culture of those two countries. My currentbody of work strongly reflects this time I spent in Asia, as it explores thefragility of life's veneers through abstract colour and textures.

I returned home in July 2002 with an extensive portfolio and I havecontinued to explore my current themes on large-scale canvasses. WhileI continue to do my art, I am also employed as the reservations managerat West restaurant.

For several years now, I have been exploring a painting technique ofcomposition and execution that is organic and about gestures . By paintingon glass, a way of turning paintings “inside out,” viewers can see the under-belly of a painting. The result is a collection of images that shows us allthat we are the sum of our parts, both by nature and nurture.

My artwork came to be at Boneta because my husband Andre, who isone of the restaurant’s partners, asked me to paint two pieces to frameChef Jeremie Bastien’s projected menu over the kitchen. Later heselected a few other pieces he was drawn to out of my collection.

Erin Evans work occasionally appears at the Helen Pitt Gallery in Gastown.She may be contacted through Boneta Restaurant.

.../ continued from page 24

Editors note: for example of how the process can have the same effectof heightening perception of objects, only via materials chosen from theopposite direction. Take a look at our cover art which was conceived andexecuted by Andrew Owen and Byron Dauncey. The location was Bonetarestaurant in Gastown and all the food in the photos were styled byBoneta’s Chef Jeremie Bastien.

Our thanks to Timothy Taylor for this interview. Timothy is the author ofthe critically acclaimed and bestselling novels Stanley Park and StoryHouse. He’s also a columnist for the Globe and Mail and a ContributingEditor at enRoute Magazine and Vancouver Magazine. He lives inVancouver and is at work on a third novel.”

Pg. 20, 21, 22, 23,24,25,38 6/13/08 1:28 PM Page 8

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Pg. 40 Back Cover 6/11/08 2:14 PM Page 1