“Cooking is one of the oldest arts and one which has rendered us the most important service in civic life”
– Brillat-Savarin, famed French gastronome
I was reminded of this quote of ‘food as art’ while dining at the most recent Hatchi dinner event at the Breadbar which featured my friend Chef Brian Redzikowski, Executive Chef of Bond Street Restaurant at the Thompson Hotel in Beverly Hills. After being inspired by his creative food at a tasting dinner at Bond Street last year, I knew that his Hatchi dinner would be a special evening. I gathered a group of food enthusiasts for the dinner, telling them beforehand that this was going to be a good one- a feast for the eyes, a true splendor of elegant aesthetics and a demonstration of fine beauty.
It was only a matter of time before Chef Redzikowski would get his opportunity to shine at the Hatchi dinner series, a wonderful monthly dinner concept of 8 dishes for $8 each by a guest chef. Le Cirque, Le Bernardin, Joel Robuchon at the Mansion, Alain Ducasse, Matsuhisa, Yellowtail in Las Vegas- sound familiar? It’s not a list of this year’s best restaurants, its the list of previous stints on Redzikowski’s impressive bio. With brother Frank Redzikowski, another distinguished chef who now works at the Encore in Las Vegas, at his side for the special one-night event, Brian was ready to prove his true creative potential. He even brought his own Bond Street crew, clad in light gray suits, to ensure proper tableside plating for his sophisticated dishes.
Never have I appreciated this concept more than at this Hatchi dinner named Claustro, which is Latin for ‘barrier’ or ‘lock’. Indeed, Redzikowski broke the barriers of conventional cuisine to unlock every diner’s heart with his innovative and artistic dishes. As one of my male dining companions put it, every dish was ” just….simply beautiful.” For me it went beyond beautiful, and each consecutive plate transported me back to a certain painting which has touched my life with its breathtaking and magnificent artistry.
Pickled daikon radish spears accentuated the three-dimensionality of the large succulent cubes of dark red tuna and bright glowing red watermelon by intersecting them at skewed angled planes. Geometric dark soy dots, halved cherry tomatoes and green pistachio nuggets added colorful elements to the abstract faceting of reconstructed tuna. Yet, despite the sharp lines and angles, the delicate tomato water film, so gently and carefully draped over the cubes like silky flowing hair, brought femininity and grace to the plate, like Picasso’s ‘Woman’. Both conceptually and quite literally, this was Picasso’s cubism interpreted in food.
The tips of the tempura battered squash blossoms, deep fried to a perfect audible crunch, were wonderful dipped into the tangy salsa verde. Once the tips were consumed, I glimpsed inside of the squash blossom flower petals to find soft wet succulent pieces of sea urchin. The cross section of the long flowing petals cocooning these little orange tongues reminded me of the subtle eroticism of Georgia O’Keefe’s flower paintings, like ‘Calla Lillies on Pink’.
The underlying black framework running through the warm color palette, strewn with dynamic splashes of cream in Brian’s unagi dish was reminiscent of ‘Number 8’ by Jackson Pollock. A neatly organized plate of sweet unagi with fingerling potatoes, Fuji apples and arugula arrived at our table. Then the Bond Street crew came over with a block of frozen foie gras and started grating it over the plate in wild dynamic strokes, dripping speckles of savory liver paint in a Pollock-esque energetic dance to create edible chaos. In an instant the lovely aromas of foie gras from the foam and the shavings climbed into our nares, moving us to deconstruct this vibrant canvas with our forks to enjoy the gustatory interplay of sweet, bitter and salty.
Vivid colors and distinct geometric shapes of Kandinsky’s ‘Solid Green’ were reflected in the New Zealand langoustine dish with succulent pieces of the crustacean alongside earthy rancho gordo beans, chives, arugula, thin prosciutto slices and rancho gordo espuma. Simple visual identification of the rectangular and round forms enticed my inner curiosity, but further observation of how their relative disposition created purposeful harmony on the canvas inspired a deeper appreciation for the artistic creativity of this chef. The seemingly abstract disjunction of the dish accentuated by the bold forest green parsley sheets was actually a purposeful expression of his vision through color and form.
Chef Redzikowski’s Halibut dish strayed far away from bold displays of colors and shapes to experiment with an understated creation using subtle gradations of soft colors like Mark Rothko’s ‘Number 10’. A tender and moist square wedge of halibut was plated against a soft background of vertically arranged white sauces, all blending and blurring into one another with refined grace. Hojiblanca olive oil pudding, olive oil purée and an incredibly flavorful artichoke foam elevated the flavors of the fish, while a splash of olive oil powder rounded them out with finesse, demonstrating that complex flavors and thoughts are sometimes best appreciated through simple expressions. Each variation of cream colored savor was exquisitely counterpoised against one another in this fine culinary installation of abstract expressionism.
Sous-vide wagyu beef with spring vegetables was a welcomed encore dish from my tasting dinner at Bond Street. The perfectly medium-rare cuts of beef with a drizzle of veal jus and sea salt sprinkles was indubitably fantastic, but it was the plating of the vibrant spring vegetables, so characteristic of Chef Brian’s style, that awakened memories of when I first admired Henri Matisse’s ‘Le Bonheur de Vivre’, which means ‘The Joy of Life’. A tender green asparagus spear rested its feet on the soft carrot sphere pillow which glowed with intense orange brightness like the warm spring sun. Like the playful figures in the painting, an earthy morel mushroom, an aromatic roasted garlic, a sweet cippolini onion, a french onion chip and a miniature bouquet garni all lounged and frolicked on the soft cippolini onion purée lawn as they basked in the idyllic sensuality of an unfettered life.
Caramel popcorn, preserved cherries, chewy dense caramel nuggets and caramel powder dotted a canvas of incredibly delicious caramel popcorn panna cotta in one of the 2 dessert dishes. The playfulness seen in the seemingly random yet organized arrangement of colorful sweets evokes the style of Catalan painter Joan Miró as seen in this painting called ‘Women and Birds at Sunrise’. Bright red tart cherries accentuated the otherwise monotone color palette which excited all diners with the fascinating range of textures, from chewy and sticky to creamy and crunchy.
All of the dishes were fantastic both in artistry and flavor, but the final dessert dish was the pivotal and defining composition for me. A glass of vanilla ice cream with sweet drizzles of acacia honey jelly was finished tableside by Bond Street staff with a generous soak of cold Asahi beer to complete the beer float dessert. Beer with ice cream and honey? Sensational, delicious, thrilling and fresh. Somehow the sweetness of the honey muted the alcohol in the beer, leaving behind only the earthy flavors of barley to enhance the luscious vanilla ice cream. Sipping the infused liquid through a straw highlighted the slightly bitter flavors of the dessert while generous bites of heavenly ice cream and honey with my spoon presented a sweeter interpretation, all the while exciting my senses to this avant garde expression of lager surrealism. Whose contemporary artistry was this style of pop art reminiscent of? This dish…was an original Redzikowski.
Look forward to Claustro, a restaurant concept that Chef Redzikowski is working on in Silver Lake.
Century City Mall
10250 Santa Monica Boulevard, Los Angeles, CA 90067
Upcoming Hatchi dinners:
June 24th- Walter Manzke
July 29th- Makoto Okuwa
August 26th- Chicks with Knives
Random trivia: Did you know that popcorn was the first food to be microwaved deliberately?