Feast Blog

Several years ago, I had the delightful pleasure of meeting the Surrealist artist Enrico Donati (February 19, 1909 – April 25, 2008). I even acquired one of his abstract pieces. Donati was a contemporary of Duchamp and Breton, but continued creating artwork beyond his Surrealist training into a Constructivist phase in the 1940s and a Spatialism period. Working with surface and texture and combining color with media like dirt and soot, Donati finished his life with an expansive collection of work that is vibrant and tactile in its expanse and breadth. There are monstrously large pieces that are frightening black and gray, decrying depths of destruction and decay. And then there are gorgeously vibrant works of red and teal and orange, but juxtaposed with ground earth tones gravel with textures and shapes.

Walking by Weinstein Gallery on Union Square in San Francisco this gorgeous, sunny afternoon, I sauntered in and was taken aback by the expansive collection on display. I knew they were preparing for Centennial Retrospective, but I was not prepared for how expansive and impressive the entire collection was. Donati passed away shortly after my meeting and there were dozens of paintings which had been in his private collection and had not been seen which is now available, not only for public viewing but also for purchase (in the $25k to $300k range).

Wandering around the three floors of Donati pictures, I was surprised to be completely taken aback by one particular piece. Here I was – among dozens of paintings with shapes invoking urns and monoliths, boulders and conch shells – with a particular piece of two orange walls facing each other, one orange wall with a window, cradling a suspended boulder shape and opposite that, a larger wall with a perpendicular post providing stability and strength. An endless gray sky provides the infinite space behind the stalwart monoliths and a glow below the edifices reflect the magnitude above. What was it about this piece that struck me? I didn’t know, but I sat for nearly 15 minutes, enraptured. I mentioned as such to Travis, who helped me with my acquisition several years ago, and he enlightened me. Take a look at this Max Ernst painting, created two years into the Surrealist movement about when Donati would have met with that brethren.

Donati’s Dialogue of Carcassonne II, 1978	Virgin Spanking the Christ Child Before Three Witnesses, 1926

Note the two walls, their relation to one another and on the right-hand wall, the sturdy post which stands in the interior, with the shadow cast diagonally across. View the cut-out window in the left-hand wall with its perspective. And look at the shape of the Madonna’s back, bent over in its act of corporal punishment. It is the same shape as the suspended boulder in the Donati. Enrico Donati has taken Ernst’s basic shapes and transformed them into a powerful statement of force and existence, alluding to its religious progeny.

Weinstein has a number of galleries in and around Union Square, but their main establishment is at 383 Geary Street. Hitchcock fans will note this is famous for being the first opening scene in The Birds building that Tippi Hendren walks by after she has crossed the street is where Weinstein now stands. I suppose that is just another reason I love this gallery.

My old friends are well-seasoned in the ritual of my annual Cassoulet. The ritual is simple; once a year, the duck fat flowing in my veins runs thin and like a fine automobile requiring its regularly scheduled quarts of oil, my body begins its craving for this unctuously rich dish, redolent with duck confit, over three pounds of pork products, duck fat, and Tarbais beans. I have written in the past how I came about using my favorite recipe, Paula Wolfert‘s Toulouse-Style Cassoulet. It takes three days to make. It is a labor of love. I have to order specialty ingredients from a local importer, Joie de Vivre. I soak my beans and season my pork. A ragout is made a day in advance and the beans and duck and pork products are layered in the specially-designed bowl by Clay Coyote and baked for several hours.

Fearing my guests won’t have enough to eat, I supplement the evening’s offering with cheese and wine, crudité and charcouterie, stuffed mushroom caps and goat-cheese filled endive studded with port wine- and spice-soaked dried figs and candied pecans, an Alsatian onion tart and caviar. There were desserts and friends. Yes, the evening is truly all about the warmth of sharing the goodness of the richness of great food with the richness of true friendship.

I have truly fabulous friends. They brought the wine; some bubbly to start the evening with, a Moet Chandon Champagne. But then the magic: Without being told it was traditional, every one who brought a bottle, contributed that special juice which is traditional with cassoulet, a California Pinot Noir or a French Burgundy (they are the same grape, after all). From California, we reveled in an ’07 La Crema from Sonoma, an ’06 Domaine Alfred Chamisal Vineyard from Edna Valley, an ’03 Marimar Estate Don Miguel Vineyard from the Russian River Valley, and a very special ’98 Olivet Lane Estate, also from the Russian River Valley. That ’98 Olivet was a close companion with the French ’95 Blagny La Piece sous le Bois.

There has been requests for a second bowl this very cold, wintery season. The fact that San Francisco is experiencing unseasonably cold weather might demand an encore; several friends have considered chipping in for the ingredients, only to divide up the portions for T.V. dinners (it freezes VERY well and I have been known to go through the effort of a second production just for the left-over factor). I was to create a second go-around. In making the ragout for the cassoulet, I was left with a quart or so of the seasoned broth. Not wanting any of it to go to waste, I seared up a few Italian sausages, sautéed some mirepoix with pancetta, and recooked the broth with some Rancho Gordo Yellow Indian Woman Beans. Heartier than the creamy Tarbais beans, the second version of the cassoulet was in some ways, more satisfying than the first — but maybe because I got to relish these leftovers over a few days in the quiet of the apartment without all the pageantry. Just a good friend stopping by for lunch, a mug of eggnot latté, and the cat who knows he gets to lick the bowl when I’m done.

I repeatedly said that for me, going to Ubuntu is like going to church; my spirit is awakened, wounds in the soul are healed, and exaltation is experienced. I went in yesterday on the tail end of a very bad day and left with a sense of spiritual renewal. It is quite frankly, my favorite restaurant in the world and with the exception of one course (the carta de musica), every single dish that was served was brand new to me so my sense of wonder at the artistry coming from Jeremy and Deannie Fox continues to appreciate. As usual, I called ahead to pre-order a tasting menu (not yet available on a day-to-day basis, I understand, but something planned for the future). So what was served may not be on the standard menu…  My biggest regret is that my new camera dysfunctioned by the fourth course. Hopefully the guest I was dining with will give me a link to his photos since I have so few. When we arrived, I ordered a bottle 2007 Seps Estate Napa Valley Viognier for the first part of the meal. For the latter part, I brought with us a bottle of 1978 Château Beychevelle, Saint Julien. The Viognier proved a perfect pairing for the “cold” dishes and by the time our hot dishes arrived, the age and softness of the Beychevelle worked excellently as well.

1. Cool ‘Athena’ MELON and LEMONGRAS purée with whipped coconut milk, ‘diva’ CUCUMBER, basil seed “caviar.” A year ago I had the slice of melon which had been brûléed in a different, watermelon-based soup. Now it was paired with a creamier coconut milk soup but heightened with the basil seed caviar and cool, crisp cucumber. A beautiful start.

Immediately after our soup, our utensils were whisked away and we were told the next few courses were to be dined upon with our fingers.

2. Crunchy RADISHES, crème fraîche with nori, mustard-banyuls, HONG VIT, and black salt. Served on a hunk of sheet rock, the radishes were laid out atop the layer of decadently-scented crème fraîche. We had great fun scooping up the dressing with the radishes and when the vegetables were gone, scooping up the dressing with chunks of bread.

3. PADRONS with flowering ‘banana’ MINT, chickpeas in Napa Smith ale, sauce romesco, smoked maldon. This was a two-part dish; sweet fried peppers were topped with fritters of clustered, fried chickpeas. Served alongside was the Romesco sauce. I’m not sure which were enjoyed more, the pure essence of the padron peppers or the batter-encasing chickpeas.

4. Carta de Musica with virtually the entire SUMMER GARDEN, barely dressed with ’round pond’ olive oil, lemon and sea salt, truffled pecorino. Eating this without utensils was a new experience; more visceral and personal. Instead of the usual long, silvers of Pecorino cheese, now the slivers were rolled up into rounds and it made it easier to scoop up the bounty of fresh vegetables.

5. A simple slice of ‘gem’ avocado, ‘cape’ GOOSEBERRY, local sea salt, cast-iron bread. A whole version of this avocado was served so that we could see just how monstrously huge it was and our charming waitress delivered it as “Av-foie-cado” has it has the highest fat content of any other type of avocado. Simply served, we were given large slices served next to a simple Cape Gooseberry and preserves. We would take a chunk of the avocado and spread it on the warm, salty flat bread which was served in a warm, cast-iron skillet (yes, at this point we were given our utensils back!). I was reminded of an anecdote where someone was served a simple peach as a dessert at Chez Panisse and now understand how the brilliant fresh taste of a single ingredient can be so impressive.

6. ‘Forono’ BEETS baked in a ROSE GERANIUM salt crust, ‘alpine’ STRAWBERRY, pistachio with soy milk, AMARANTH. Before this dish was served, the waitress brought out a Le Creuset cast iron skillet to show us the decorative smiley face that had been designed in the salt crust. When plated, we were each presented with quenelles of roasted beets, plated with the unctuous sauce and contrasted delightfully with the small, powerful strawberries.

7. ‘Oxheart’ CARROT mille feulle, NASTURTIUM panade, purée of peach and ‘noyau’, peppery NASTURTIUMS, ‘delfino’ CILANTRO. The ‘noyau’ was their version of a spicy mayonnaise. So much creamy goodness in this beautiful dish colored all with orange — from the carrots to the peaches. So rich, the nasturtium panade was an amazing complement to the richness of the carrots and peaches.

8. Chowder of barely formed BEANS & SUNFLOWER hearts, ‘luscious’ CORN, barigoule, TARRAGON, future sunflower seeds. I was getting full but this dish simply blew me away. A plate of of the beans and sunflower hearts was presented and the sauce was ladled tableside from yet another Le Creuset pot.

9. A ‘sunburst’ SQUASH, named “Merrick” by Chef Jeremy, with young COURGETTES scented with our vadouvan, BASIL. It was over this dish that the four of us dining bonded. Our server brought “Merrick” out to introduce us before he was prepared. Named after the Elephant Man, John Merrick, he was a mis-shapen squash of incomparable beauty and guile. Being one who names her creations, I had an affinity to Merrick and all that he stood for; Jeremy’s garden, the transmutation of the basic into the extraordinary, and the personalization of the intimacy of the ingredients. Once served, Merrick was plated alongside some miniature versions of himself, smaller courgettes and paper-thin slices of the squash, fried and served alongside the steak-like portion of Merrick. The vadouvan was the perfect choice to supplement the sweetness of Merrick with the well-integrated aspects of basil that did not over power.

10. Freshly-dug POTATOES, roasted then crushed, SHISO salt, garlic butter with lemon and miso, FICOIDE GLACIALE, smoked NETTLE. This was yet another dish that was shown to us before it was plated and served; three roasted potatoes, a Peruvian purple, a French fingerling, and a Rose (Klondike?) potato. Showed whole, they were trussed up with herbs but once served, were chunked alongside the ice plant and smoked nettle. Served as a dipping sauce was the miso butter. I had to fight the temptation to just dump the dipping sauce all over the potatos, but it was great to taste the flavors of the potato [i]au natural[/i]. I was getting full but these were so hard not to eat.

11. “French Onion Soup,” heirloom ALLIUMS, Deannie’s brioche, LEEK ash, “midnight moon.” I was fairly convinced at this point that I was going to burst, but the serving of miniature Staub pots with the aroma of the melted Midnight Moon cheese drew me in. Small roasted onion were hidden under generous slices of Deannie’s brioche which were topped with the melted cheese. There was only a hint of broth as the true joy of a French Onion Soup [i]is[/i] the cheesy crouton after all. They essentially did away with the complication of cutting through cheese toast that is on top of a bowl of soup by doing away with most of the soup and leaving all the rich oniony, cheesy goodness.

I have to emphasize the progression of dishes, from cool and light to hearty and satisfying was brilliant. At the beginning, one of my guests expressed concern about the small servings; he was worried that he would still be hungry, eating nothing but small plates of light vegetable dishes. By the time we were in the middle of the chowder, his fears were assuaged and I had to caution him that we still had a way to go.

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12. STRAWBERRY-hibiscus popsicles with ‘chocolate’ MINT. Served in a small shot glass, this was more of a clean, inviting palate cleanser. A juice with a bit of spritzer and yoghurt with the juice, small bites of tapioca were gems of strawberry flavor nestled on the bottom of the glass.

13. Stuffed SQUASH BLOSSOM fritters, stuffed with ‘santa rosa’ plum jam, NASTURTIUM ice cream, HONEYCOMB. The Fried Dough Ho in me was more than thrilled with this offering. The squash blossom was stuffed with jam, fried, and served on top of the ice cream. It was easier to go back to our earlier utensil-less fashion by scooping up the ice cream with the squash blossom and eating with with our hands.

14. Chocolate and BLACKBERRY soufflé with chocolate brittle and NASTURTIUM ice cream. Our server was downright giddy with the surprise ending as this was apparently a last-minute change to what had been planned for dessert. Perfect soufflés which were not too sweet were studded with fresh blackberries. I think the strength of this otherwise simple dessert was the fact that they were not overly sweet and the bites of fresh fruit were unexpected bites of richness. They were served with more of the nasturtium ice cream, a scatter of more berries, and sheets of chocolate brittle. But for me, it was all about the soufflé.

For the past several weeks, during the “time of transition,” I have been taking very long walks around the city of San Francisco. Beloved friend, Joan, came and stayed with me for a while and we expanded our horizons of walking explorations. In preparation for my housewarming party, I suggested we stock-up on sausages and cheeses from my favorite European market and since it is so far out on the Avenues, we decided to incorporate the trip with a walk on the beach. Arriving near The Cliff House restaurant, I saw a trail lead off on the right and suggested we walk that way. What I did not realize at the time was that we were on the Land’s End Trail.

It is a beautiful walk, in and out of woods, on a sandy trail, up and down stairs… All these were slightly expected as the walk is adjacent to the Golden Gate Park and The Presidio. What was not expected and entirely delightful, were bits of art. The first we found was on a log stump — a face cajoling and laughing at us in jest. I was thrilled and pointed it out to Joan, “See,” I exclaimed, “You know never know when you are going to stumble on some art!” It was a great beginning. We walked down a dark, meandering path so that I could touch the ocean and found a series of standing stones. A small cluster were grouped on a large piece of driftwood and larger groupings were scattered throughout the rocks. I was getting giddy. Continuing the walk, yet another creation — or should I say recreation? — of the Chartres Labyrinth in rocks.

What a fabulous day and what a fabulous way to explore the city and get inspired for the adventure which awaits me!

When I was in Argentina last year, I walked into a Hacienda with a
painted purple wall. It was expansive, elegant, and striking. Being a
life-long renter, I have always lived with white walls and dreamed of
the day when I could have my own purple wall. Most landlords don’t want
or will let renters paint walls but I was pleasantly surprised during a
recent move and I was told I was allowed to paint with color… My
chance at last!

Painting an entire wall purple (or any other dark color) is risky. It
can overpower and darken a room significantly. Also, I did not want any
old purple; nothing garish or obscene. I kept describing to friends
that I wanted an elegant purple — slightly muddy and earthy. Aubergine
(don’t you love that word?) Oh-bear-jzeeeeen...  I went to
several stores and looked through dozens of paint books. The purple I
wanted simply did not exist it seems. Then, during my move, my friend
Cassie asked if I had a sample of something which would show her the color
purple I had been brooding about. And then I found it: My inspiration
came in a bag of Turkish dried eggplant that my friend, Lisa, had
recently brought me from Istanbul. This was it!

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