Gertrude Stein once wrote a "rose is a rose is a rose." Today, the resurgence of home cooking and stylish entertainment has redefined the rose as a tomato, a radish, or even an onion. Beginning with the Greeks, food has been displayed in forms ranging from inedible extravaganzas to practical nouvelle cuisine simplicity.
The Japanese brought us the balance and harmony in our culinary orchestration, while the French provided the elegance and imagination. Combining these influences we perform the ultimate gastronomical performance--presenting food as art.
Throughout the years, the Chopins delighted our ears, the Michelangelos painted the visions, the Shakespeares wrote the poetry, but no art form has successfully appealed to all five senses as has food. This sustenance has given us a myriad of textures, aromas, tastes, and smacking approvals. More importantly, we are the fortunate audience to the epitome of culinary art--visual enticement from an exquisite presentation.
Our palates have always savored good food since time immemorial. Gastronomy served a dual purpose of satiety and spectacle. During China's Ching dynasty (from the 1600s to 1912), the art of food spectacle peaked in popularity as the host's gesture of honor and gift became a paramount concern. Sculpted food represented Asian myths and superstitions. Cold meat platters transformed into phoenix birds, a symbol of good fortune and success. Whittled white radish swans were unveiled to newlywed couples as a wish for eternal love and happiness. Eggplant pine trees and shredded chicken cranes brought longevity to their audience.
Since most of us maintain schedules that do not permit such splendid grandeur, we tend to remain in awe of the food professional's creation rather than participating ourselves. Time is at a premium and food sculpture is last as one of our dinner party objectives. But who can argue with the natural and simple elegance in a gardenia centerpiece effloresced from a wasted parsnip or a fresh fruit salad arranged in a honeydew swan?
Ostensibly, vegetable carvings provide visual accent to food. The choice of medium, be it an apple bird or a scallion brush, depends on the compatibility of taste, texture, and color. Your produce selection plays a critical role. Certain considerations are best described by Bruce Beck (see step by step illustrations) who teaches fruits and vegetable sculpting at the New York Restaurant School. "Be cautious of the hazards of poisonous greens such as mistletoe and holly," he warns. "A good florist can aid you in your search for harmless greens such as lemon leaves, ferns, and acanthus." He adds that you should work on pieces with which you feel comfortable. The uppermost concern in striking food sculpting relies solely upon ingredients in their natural or near-natural state combined with a fine eye for balance.
Basic Rules about Fruits and Vegetables
Root vegetables, such as carrots, radishes, and turnips, should be firm, not limp. Since these vegetables are crisp and brittle, handle at room temperature. If you need more pliability, soak the root in warm, salted water. If you want a blooming effect, place the sculpted piece in ice water. Some beet and radish roses can be frozen in a cube for future
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