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The Daily Norm’s Photo of the Week – Sunflower Spectacle

When you read this post I should be somewhere around Arles or Saint Remy-de-Provence, breathing in the fresh balmy air of the South of France, and following in the footsteps of one Vincent Van Gogh, who painted some of his most famous canvases in these parts. I therefore thought it appropriate that The Daily Norm’s photo of the week, published in my “absentia”, should be a suitably summery shot, and what better way to bring you the warmth and vitality of the rolling fields of Provence than to feature one of my photos of the unblemished glory of the intricately patterned head of a sunshine-yellow sunflower.

I actually took the photo last summer in Tuscany, rather than Provence. My partner, who had gone out ahead of me had found a field bursting full of “girasoli”, and was anxious that we should go along to see them before the flowers began to wilt under the roasting Tuscan sun. And so, on my first day out there we headed along to the field, surrounded by pine trees and the rousing chorus of cicada cries, and ran straight into the centre of this incredible field full of flowers. It was such a moment of epiphany to be surrounded by these wonders of nature, stretching for as far as the eye could see.

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But of course the rolling landscapes of Provence are equally renowned for their sunflowers, and proved to be such an inspiration to Van Gogh when he lived in Arles that he painted what are perhaps now his most famous series of works as decoration for his home, now known as “the Yellow House”, in preparation for the visit of his artist companion, Paul Gauguin. And little wonder. The flowers, with their complex faces, delicate bright yellow petals, and strong fleshy green stalks turning the flowers towards the sun, are the very epitome of a glorious summer’s day.

I have no doubt that once returned from Provence, I will be inspired in equal measure. See you then.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 

Norms do… Cézanne’s Card Players

Although perhaps best known for his repetitive, almost obsessive landscapes of Le Mont Saint Victoire near his home town of Aix-en-Provence, and his groupings of apples and oranges painted as simplified geometric forms with zealously applied paint strokes, the so called father of cubism, post-impressionist master Paul Cézanne also painted another set of rather astonishing works which in my opinion easily qualify as some of his most captivating works. A gloomy tavern, a waxy dark tablecloth, a set of playing cards and the concentration of two card players, focus furrowed deep into their brows as we look upon them in the midst of a game – I am of course talking about Cézanne’s Card Player series, a series of some 5 paintings and numerous preparatory sketches, in which Cezanne took the tradition 17th century French and Dutch genre painting style of a rowdy tavern scene, and reduced it to a simple card game, full of intensity and, surprisingly for its tavern setting, sobriety.

The Courtauld's Card Players

The Courtauld’s Card Players

This now familiar composition by Cézanne, one of which hangs so happily close to me in London’s Courtauld gallery, made the headlines as recently as last year, when sold to the Qatari royal family for around $275 million, it became the most expensive piece of art work ever sold. While the price may be bonkers, and the painting’s final destination into a private collection lamentable, the art loving public can at least be reassured that four versions of the work remain on public view and as if that wasn’t enough, on top of that, the Norms have now staged their own version too!

Norm Card Players (after Cézanne) (2013 © Nicholas de Lacy-Brown, acrylic on canvas)

Norm Card Players (after Cézanne) (2013 © Nicholas de Lacy-Brown, acrylic on canvas)

Yes, being as, when you read this post, I should be somewhere in the Lavender-scented verdant rolling landscapes of Cézanne’s beloved Provence, and heading to his home town of Aix as my final destination, the Norms thought it only appropriate that before heading off on that trip with me, they would reimagine this renowned Cézanne scene, composed as it is with a rusty authentic depiction of a Provencal tavern complete with what are believed to be two of its local farmers playing cards. The Norm version is based upon the Courtauld’s canvas (above), and consequently the scene concentrates, as Cezanne latterly did, on the two solitary card players rather than two players with spectators such as populate some of the other works from the series. I’m not entirely sure how Norms manage to play cards so well with only one arm, but I suppose they have their ways, as Norms always do…

So without further ado, I leave you to enjoy the Norm Card Players, in this almost still-life, intense moment of concentrated card play. And some of Cezanne’s originals are included too.

Spot the difference…

The d"Orsay Card Players

The d”Orsay Card Players

The Qatari Card Players

The Qatari Card Players

Card Players at the Barnes Foundation, Philadelphia, Pennsylvania

Card Players at the Barnes Foundation, Philadelphia, Pennsylvania

and at the Met, NY

and at the Met, NY

And some studies…

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A bientot.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

The Daily Norm’s Photo of the Week – Trout Pout

Sometimes I take such pleasure in savouring the beauty of individual, fresh ingredients, that I almost feel sorry to cook them, no matter how delicious the results. Such was the case this weekend when I bought myself a weighty fresh char fish from my local fishmongers. It’s so much nicer to buy fish straight from an authentic fishmongers rather than all wrapped in cellophane from the supermarket – and all the more so when you live in the city, as we do. As soon as I got home, I couldn’t wait to unwrap my fish and then, placing it amongst the fresh herbs and lemon and fennel and seasonal Jersey Royal potatoes with which I planned to cook her, I stared in wonder at the beauty of nature’s incredible creation.

Having the opportunity to look at a fish close up, to feel her snake like curving spine beneath her fine muscular flesh, examining her tight little silvery scales and her bewildering staring eye, with a black hole disappearing apparently into the beyond, I was completely captivated. Almost sadistically, I took great pleasure in opening up her mouth and checking out what looks like a meaty little tongue – who knew that fish even have tongues(!) – and revelled in the aesthetic glory of this new occupant of my kitchen. And of course, inevitably, not long behind came my camera, and the opportunity to capture this beautiful fish “on film”.

DSC01682So for this week’s photo of the week, I could not resist sharing one of these shots with you when, with Florence the Fish’s mouth wide open, she looks almost ready to pounce from amongst her new found ocean of earthy potatoes and fresh verdant parsley. Sadly this was not to be, as Florence was destined to end up en papilloteand cooked, quite simply to perfection. She will, I’m sure, be proud to know at least that in her sad demise, she made for one hell of a delicious meal.

(Apologies in advance go to all Vegetarians – but you can’t deny that I appreciated the fish to the full.)

See you next time.

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 

Going Khoo-Khoo for la Gastronomie Française

In a few days time I am leaving the windswept wet isles of Great Britain behind me in the woosh of a high-speed train all the way from London to Avignon in the South of France. I am practically delirious with anticipation, already envisaging my stripy blue and white t-shirt set amongst the rolling Provence countryside with a little black beret to match; spending my long sweaty journeys on the tube with teach-yourself-French flowing firmly into my ears; playing old French favourites Piaf and Trénet around my home; and now, super-indulging in la bonne vie of ultimate gastronomic excellence: French cuisine.

I don’t know all that much about French cuisine, being firmly inducted as I am into the Spanish school of cookery, but I do have one exeedingly pleasing French cookbook on my book shelves, and even that one I bought more for the fine pictures of Paris than through any hope of mastering French gastronomy. However, as technique goes, Rachel Khoo‘s Little Paris Kitchen certainly makes things less intimidating, and opening the book up for the first time in months, I set about creating a weekend fully loaded with French delights.

You’ll have to excuse what follows as being something more of a pictorial indulgence than an ingredient-by-ingredient recipe rehash. While I will try to stay faithful to Khoo’s recipes where I can (and of course reminding Daily Norm readers that the recipes are entirely her copyright, and of course urging you to buy her picture-perfect book ;-)), or otherwise link up to them where I can find them already published online, this post is really an unapologetic celebration of food, of the beauty of ingredients, of fresh produce, of flavour combinations and of the results that can be achieved through a toil in the kitchen.

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So first up was a simple Gratin au poisson fumé, a rather simple little light lunch to make, once you master the creamy rich béchamel sauce. It’s also a great way to use up odds and ends from your fridge. For the béchamel, you need to melt 30g of butter in a large pan over a medium heat, adding 30g of plain flower and beating hard until it becomes a smooth paste. Take off the heat, leaving to cool for a couple of minutes, before gradually whisking in 500ml of milk. Place back on a medium heat, add 1/4 peeled onion, a clove and a bay leaf and simmer for 10 minutes, whisking frequently. Finish by removing the onion, clove and bay leaf and seasoning with a little salt, white pepper (if poss) and a pinch of nutmeg. Then  it’s just a case of mixing this with around 750g of cooked, sliced baby potatoes, 200g of smoked haddock or other smoked fish, a handful of chopped parsely and sprinkling a handful of comté or gruyere on top and then popping into the oven or 200 mins at 180C. Serve with a fresh salad to cut through that creamy, cheesy sauce. I sprinkled my bake with a little pimento (you can take the boy out of Spain, but not Spain out of the boy…).

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An alternative use of the béchamel is to mix it with 300g of cooked macaroni, and placing that in the oven with a load of cheese sprinkled on top – it makes an awesome macaroni cheese which easily beats the supermarket favourites thanks to Khoo’s welcome addition of aromatic flavourings in the sauce.

My macaroni

My macaroni

Onto the plat principal, which in anticipation of our voyage south just had to be a fresh summery fish dish. I wanted to make Khoo’s Trout en papillote dish, but failing to find any trout stocked in my local fishmongers, settled on a freshwater char, which I gather is a close cousin of Monsieur Le Truite. I did however opt for the en papillote technique, the masterful and easy method of cooking fish efficiently, ensuring that the moisture and flavour is all locked in and doesn’t escape the dark cavernous entrails of an oven.

My Char and her fellow ingredients pre-papillotte

My Char and her fellow ingredients pre-papillote

Basically, all you need to do is take one trout per person (or one large char did it for the two of us), and rub its insides with a marinade of the grated zest of one lemon, salt, pepper and 4 tablespoons of olive oil. Then fill the fish’s belly with finely chopped fennel, and rest slices of almost cooked baby potatoes alongside the fish (sufficient for the number of people the fish will serve). Then that’s it – lie the fish & co. on a large piece of baking paper and seal closed ensuring that those juices can’t get out – and if you’re wondering how this should be done, check out Rachel Khoo demonstrating herself! I served the fish with a good dollop of thick creamy crème fraîche and a little salad by way of pretence that I am in fact very healthy (and pigs will fly etc etc). The fish was unctuous, tasty, moist and so beautiful to look at – well before it was cooked anyway. 

Pre-papillote

Pre-papillote

All wrapped and ready to go

All wrapped and ready to go

The less beautiful but delicious finished dish

The less beautiful but delicious finished dish

Finally, les desserts, and I went for two French classics which, while a little technical, are made pleasingly approachable in Khoo’s book. The first was Îles flottantes (floating islands), which I can very handily give you a link to to save me trying to unsuccessfully summarise what are three fairly complex processes to make this well-worth-the-effort delicious dessert. I first had some floating islands – unctuous soft meringue floating in a creamy vanilla custard soup – at La Bofinger in the Marais in Paris. After making may way through an indulgent multi-tiered mountain of oysters and seafood, this seemed easily the most decadent way to close a French meal, and now having made it myself, I am delighted to have so easily mastered what is surely one of life’s most decadent of desserts. I particularly love Khoo’s almond praline touch – sprinkled on top this gives the subtle eggyness of the meringue extra sugar and a much needed crunch.

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For dessert number two (made the following day I might add – we’re not that greedy), I decided to indulge cataclysmically, with a creamy, ambrosial champagne based dessert, perfect to accompany the glasses of champagne which were already bubbling away in the hands of my partner and I by way of celebration of our fourth anniversary. Rachel Khoo’s ultimately delicious Sabayon de Champagne avec fraises just had to be the winner of the weekend. It was quite simple to make, and way too simple to eat – we finished off this exquisite elixir in mere seconds, but it was worth those few mouthfulls of pleasure.

Anniversary champagne

Anniversary champagne

To create this delight, simply whisk 4 egg yolks with 25g of sugar over a bain marie (heatproof bowl over a pan of simmering water) until the mixture is thick and pale yellow in colour. Then add 100ml of champagne and whisk until the sabayon is very thick and foamy – this takes around 5-10 minutes, and you know when it’s done when you draw a shape in the mix and it stays put. Then simply pour into bowls and serve with stawberries. Oooo la la what a summer’s delight!

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Vive le France! We’re coming to get you!

For more details of Rachel Khoo’s cuisine check out her BBC series page.

 

The Daily Norm’s Photo of the Week – London in June

There’s something about the perverse nature of England that the closer we get to the Summer Solstice, the hopeful time when three months of summertime await, the colder and wetter it suddenly seems to become. Except that this year, it couldn’t get much colder. Even at Easter we had snow, and two months later, some blossom trees are only now coming into bud. Ah yes, the weather of 2013 has been ripe fodder for that good old English tradition – talking about the weather.

So for this week’s Daily Norm photo of the week, I thought it was only appropriate that I feature a photo I snapped the other day while walking to work in London’s Westminster. Having woken up to gloomy skies and wet pavements, I didn’t think I would be able to enjoy the short stroll I try to make time for each morning by getting off the tube one stop early – it’s a stroll which gives me time to recollect my thoughts before work, and enables me to recover a little composure after the morning’s crush on the tube. Yet just as I was leaving home the sun started to break over damp old London, and 20 minutes later, I took my stroll in the faint morning sunshine, dodging plenty of puddles along the way.

This photo was taken as I passed one such puddle and realised to my delight that London’s most famous landmark, Big Ben (or Elizabeth Tower as we should call it) was reflected perfectly upon the pavement. Grabbing my iphone camera quickly, I managed to capture this shot between commuters rushing moodily by. And for me it’s the perfect illustration of London in June – wet, green, but with a faint, hopeful brightness in the air. Here’s for better weather to come.

Big Ben

All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 

Composition No. 2 (Los Naranjos)

Last week I introduced a new painting and a very new style: Composition No.1 (squid with patatas a lo pobre), and hot on its heels I am very pleased to present my second Composition, likewise painted with gauche whose introduction into my artistic repertoire was inspired by the colourful enriching abstract works of Saloua Raouda Choucair currently on show at Tate Modern.

My second composition is inspired by those exquisite moments of summer time pleasure, when sat in the dappled Mediterranean light and shade of a ripe green orange-tree (Los Naranjos), you look up through the branches in whose semi transparent leaves the sun has scattered a panoply of greens, to see through those verdant lustres the unbroken clear blue sky beyond.

Composition No. 2 (Los Naranjos) © Nicholas de Lacy-Brown, gauche on paper

Composition No. 2 (Los Naranjos) © Nicholas de Lacy-Brown, gauche on paper

I adore mediterranean trees, basking under their natural canopy both protected from, and yet semi-dappled with the glorious midday sun. I love the unmistakable perfume of orange blossom, and the dry earthy aroma of sun warming the wrinkled bark of these well-weathered trees. And for me, the effect of light bleeding through a shelter of semi-translucent leaves lent itself so well to this abstract style, which has at its heart the idea of multi-layered shapes. The result is a painting which I hope you agree has the essence of a summer’s day, but in a decidedly abstracted mood.

Composition No.3 will surely follow suit. Until then amigos.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

RA Summer Exhibition – Grayson Perry steals the show

Now in its 245th season, the annual Summer Exhibition at London’s Royal Academy is reputed to be the largest open-submission exhibition in the world, and also one of the oldest. Yet while it is billed as being a show which offers all artists, no matter their qualification, notoriety, nationality or skill, the opportunity to submit work and be hung amongst a who’s who of some of Britain’s most prominent contemporary artists, it is more often the case that those prominent artists more than overshadow those lesser knowns who are lucky enough to have their work selected for the show. In previous years, the non ‘Royal Academician” artists have been crammed into the smallest possible spaces, while the larger galleries have been given over to the same old RA clique, whose submissions never appear to differ from one year to the next.

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In that respect, this year’s show, just opened at Picadilly’s Burlington House, is very similar. The same old-same old is prominently hung, including works by the likes of Albert Irvine RA, whose florescent acrylic daubs continue to repel me despite my being consistently exposed to them at each annual Summer Exhibition, and Eileen Cooper RA, whose rather simplistic portraits look more craft fair than art show to my mind. Having said that, the RA appears to have learnt from past grumbles, and has not crammed the non-RA artists into a single small room, rather opting for a “Salon-style” floor to ceiling hang in many of the larger galleries, which, while rather bewildering to look at, at least makes for a more pleasant viewing experience when the large crowds of people, attracted no doubt by the smaller price tags, cluster around these works hoping to invest in the lesser known, affordable artists.

An El Anatsui "sculpture" hangs over the facade of the RA for this year's show

An El Anatsui “sculpture” hangs over the facade of the RA for this year’s show

While the Salon-style hang inevitably means that there are way more pictures on show than anyone can possibly take in on one visit, it does at least mean that there are huge rafts of works on show, and undoubtedly something to suit every taste. In keeping with my positive experience of last year (which resulted in my making two purchases), my favourite gallery of this year’s show was no doubt the print room – a gallery full of prints of all mediums, from etching to relief, screen printing to woodcuts, and I was very happy to see the artist Adam Dant on show at least twice, one of whose encyclopaedic works I had bought last year.

Adam Dant, The Mouth of Italy (Venice) hangs at this year's show © Adam Dant

Adam Dant, The Mouth of Italy (Venice) hangs at this year’s show © Adam Dant

Many of the subsequent galleries flew by in a rush of sculptures, architectural models and so-so paintings. Only a few works really stood out enough for me to remember them subsequently, amongst them Julian Opie’s Maria Teresa I, which I adored, and reminded me of a pop-art Velazquez court-painting.

Julien Opie's Maria Teresa I © Julien Opie

Julien Opie’s Maria Teresa I © Julien Opie

But undoubtedly the real star of this show and the work for which a visit to the exhibition is alone worth a visit, is one Grayson Perry, the witty, perceptive, social-commentating, cross-dressing craftsman and artist. I first estolled the virtues of Perry when I took a trip to his British Museum exhibition one year ago. Now, at the Summer Exhibition, a whole gallery (the last in fact) has been given over to a set of 6 tapestries by Perry which, under the combined title The Vanity of Small Differences, tell the story of one Tom Rakewell, whose rise and fall through life is captured insightfully and comically across these brilliantly detailed, multi-coloured and superbly designed Hogarth-inspired tapestries.

Details from The Vanity of Small Differences © Grayson Perry

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As is so typical of Perry’s work, these tapestries offer a spot-on insight into what some call Britain’s “tribes”, from stay at home frustrated mother and groups of rowdy clubbing slappers, to our aspiration for the “high life”, a tendency to attack those who the masses perceive as “upper class”, and our obsession with money, gadgets and celebrity culture. There’s so much to take in in these brilliantly conceived tapestries, and even as I write, I am itching to go and see the works again so that I can take in more of the feast of details which Perry offers up for our consumption. In the meantime I include images of all six tapestries to tempt your taste buds, as well as some shots of the wonderful details which are literally stitched into the richly weaved layers of this work.

The Adoration of the Cage Fighters © Grayson Perry

The Adoration of the Cage Fighters © Grayson Perry

The Agony in the Car Park  © Grayson Perry

The Agony in the Car Park © Grayson Perry

Expulsion from Number 8 Eden Close  © Grayson Perry

Expulsion from Number 8 Eden Close © Grayson Perry

The Annunciation of the Virgin Deal  © Grayson Perry

The Annunciation of the Virgin Deal © Grayson Perry

The Upper Class at Bay  © Grayson Perry

The Upper Class at Bay © Grayson Perry

Lamentation  © Grayson Perry

Lamentation © Grayson Perry

The Summer Exhibition is now open at the Royal Academy and runs until 18th August 2013.

The Daily Norm’s Photo of the Week – Reflected Metropolis

My camera is never far from my side, whether it be my pocket Sony Cybershot, my good old iPhone camera, or my larger SLR. This enables me to capture the random moments that life throws at us all, or the unexpected compositions which emerge from every day living. Because so many of the resulting shots form something of a miscellany of photos, not fitting neatly into a larger, neater category of photos around which an album can form, I thought that the best way to share those odd shots with you would be to pick just one a week on which to focus.

Today’s photo of the week is an interesting shot. It’s from within my home – on my coffee table in fact, which I’m so used to looking at on a daily basis that sometimes I fail to notice the beauty of the reflections which form on the surface of its black glass. Yet at the weekend, I guess I turned at just the right moment, so that my eyes caught this scene and recognised the immediate beauty in it. Grabbing my camera, I zoomed closer, thus composing an image which now resembles, rather than a modern cubist chess set, something of a Manhattan-style city skyline.

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For me, the image conjures up skyscrapers stood alongside a still river upon whose waters the buildings are reflected. The sense of landscape is augmented by the presence of blue sky which, owing to the position of my window, has become reflected on the glass of my coffee table. Meanwhile, the little glass vases bearing red buds from my geraniums are like idealised contemporary trees, something of a park within my imagined urban landscape.

They say the camera never lies, but as this photograph perhaps demonstrates, an isolated composition can certainly trick the eye, and provide the narrative, within the confines of its four dimensions, to an imagined land all of its own.

I’m already looking forward to picking out a photo for next week. See you then.

 All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2013 and The Daily Norm. All rights are reserved. 

Composition No. 1 (squid with patatas a lo pobre)

With Composition No.1 (squid with patatas a lo pobre), my painting has taken something of a new direction. Inspired by the simple abstract forms and “fractional modules” of Saloua Raouda Choucair, and intrigued by the medium of her choice, gauche, I have diverted from the more detailed figurative approach of my normal artwork to cleaner, simpler representational forms.

In this work, I am attempting to convey an atmosphere and an occasion: lunch by a Mediterranean beach – a dish of squid and patatas a lo pobre, the typical unctuous Spanish dish in which simple oil nourished potatoes are served with peppers and onion. I have attempted to convey the swirls of the sea, the curving delicate forms of a squid’s tentacles and the odd burst of red from the colour-rich peppers.

Composition No. 1 (Squid and patatas a lo pobre) 2013 © Nicholas de Lacy-Brown (Gauche on paper)

Composition No. 1 (Squid and patatas a lo pobre) 2013 © Nicholas de Lacy-Brown (Gauche on paper)

As for gouache paint – it’s been something of a revelation. Something of a cross between watercolour and acrylic but drying matt, flowing seamlessly across the paper and easily controllable both with and without water mixed in, I’ve found it an inherently pleasurable medium with which to work. I love the flat finish, the overlapping colours, and the explosion of blues bursting across the picture. I cannot wait to work in gauche again. In fact, composition No.2 is already taking shape.

© Nicholas de Lacy-Brown and The Daily Norm, 2001-2013. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Nicholas de Lacy-Brown and The Daily Norm with appropriate and specific direction to the original content.

Weekend Review – Candy floss and tutus

Sometimes when a weekend is so bounteous in treats, both planned and unplanned, it becomes a chore to try and sift through the experiences and feature one or two on my blog. And since the alternative – which is to write about none of them – does not sit well with the spirit of blogging, nor indeed with what is, after all, meant to be an epnoymously daily blog (although admittedly I’m not currently doing all that well on that front…) I thought I’d just tell you about the whole darn lot!

So, on Friday afternoon, as the clock hand clicked past 5 and I started to feel the rush of weekend relief fill my worked-out body, I rushed home to start the weekend. For me this meant three things: First the completion of my new painting, “Composition I”, an entirely new direction of painted expression (which I’ll try to post up on the blog in a few days time) with which I have discovered gouache paint for the first time. It’s a work inspired partly by the Choucair exhibition I attended last weekend and partly by a typical luncheon by the sea in Marbella, with squid, and patatas – the perfect weekend on any view.

But back to Blighty, and with paint brushes put aside and a wooden spoon picked up in their place, I commenced cooking up a risotto feast – the perfect creamy end of week pleasure, and a good one for using up odds and ends of food after a week’s exhaustion of supplies. In this case it was half a packet of palma ham, some rather old chorizo, a few tomatoes, half a bulb of fennel and a little fresh mint which made it into my rather indulgent left-overs risotto. And what a treat to eat it al fresco too, on our warm London balcony, watching commuters aplenty passing by, the majority with a bounce in their step, overjoyed as we were that the weekend had come at last.

My "odds and ends" risotto

My “odds and ends” risotto

Dining al fresco...

Dining al fresco…

But as ever the al fresco air inspired us to go out into the open air in search of dessert, and a walk across the vast expanse of Clapham Common and back towards Northcote Road in the Clapham Junction area brought us to a new entrant on the restaurant-lined street. In place of what had once been a rather chic Austrian eatery is now a cute little Spanish restaurant AND sherry bar, Rosita. Unsurprisingly we headed straight for said sherry bar in search of our dessert. The fact that we then ended up with two glasses of wine and a few savoury tapas dishes was perhaps inevitable, but dessert did eventually follow, in the form of deep friend sweet potato cakes in a honey syrup. Delicious.

Rosita's sherry bar

Rosita’s sherry bar

Rosita-and-the-Sherry-Bar

Now too fat to move, we bemoaned our over indulgence and returned home, exhausted, to bed.

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