Beano Plato with Sleepy Celeriac

individual portion

187.5g tinned Butter Beans
40g roasted chopped Hazelnuts
1 Albumen lightly whisked
30ml Sunflower Oil
500g Celeriac sliced into medium thin flat segments
12g thyme
90g Philadelphia Light
200g Onion thinly sliced
large pinch of nutmeg(gr)
large pinch of pepper(gr)
large pinch of ground cinnamon

Preheated oven to 200°C
Placed very large foil on 20cm tin (bigger would help the Celeriac cook more evenly, keeping it level on the base)
Placed large parchment paper on the foil and made a hollow in the centre
Placed the Celeriac in the hollow with the thyme, mostly still on the stems so they are easy to remove at the end but a few branches of leaves scattered on top
Drizzled 15ml Sunflower Oil on top, folded the parchment over the Celeriac
Folded the foil over the parchment, closing well on all sides
Baked for 40min at 200°C
Lowered the temperature to 190°C for the last 20min to cook with the Plato
At the end of cooking added about 8 pieces of the Celeriac to a jug with the Cheese, blended and poured on the hot Celeriac when serving

PLATO (20min)
Prepared the Plato by stirring together the first three ingredients
Made a small circle of the Plato in 20cm tin lined with parchment paper
Baked in oven with the Celeriac at 190°C for 20min

ONION (20min)
In medium large frypan fried the Onion in 15ml Sunflower Oil for 20min
stirring all the time so it is evenly caramelized
5min before the end stirred in the ground spices
Served as garnish on the Cheese on the Celeriac

complete protein 17.5g
saturated fats 11.9g
uncompleted legume protein 5.3g

W 244 abcd

Sable round brushes, colours and paper:
n.5 Raw Sienna (unused)
n.8 Jadeite Genuine
n.10 Mayan Blue Genuine (unused)
Watercolour paper NOT 280gsm 38 x 28cm

additional exercise using all materials above
please be with me
painted mostly with the brush pointing downward to keep the light on top as the tip leaves the darkest mark
this may be done again as I had another idea which was not used for fear it would take over the page
and it did:

20200118 2


n.5 thank God, what makes God happy is good
like the word thank you on a card this could be an outline
in Raw Sienna which is also about framework but more the highlighting of it
so there is no conflict here, no contrast, no broken lines perhaps
n.8 treasure intimacy
this is about paying greater attention to that which is closest
disproportionately it would seem but effectively like perspective distortion
allowing the eye to show what it sees instead of imposing that which the brain thinks it knows
making it truer in fact
in Jadeite Genuine, in truthful joy
there is no conflict so no need to show a distinction, Jadeite can mix with Raw Sienna anywhere
n.10 value everything but not too much
this is about balance again no conflict between the brush and the colour
in Mayan Blue which is a Genuine pigment
but it is derived from ancient Mayan chemistry, not from a single rock, I think, like most other Genuine pigments
so in a sense it is not real
both n.10 and Mayan Blue have a balance to maintain
real and unreal
value and devalue
these are big shapes like worlds wherein my joy can live Mayan mixes with Jadeite in circles or spheres perhaps
but also small detail
value every thing
but not too much
with the Jadeite that magnifies every little thing
somehow finding that balance
like in the last two paintings letting the brush do the work
beyond the initial thought
Raw Sienna which serves to highlight a framework may also be the colour that balances Jadeite
or contains it, probably better
within a framework
circles within squares
a bit cubist again
but without a sense of brokenness perhaps
not big shapes actually
big framework
small shape perhaps with a lot of detail like pointillist painting but in big brushes…
to me Mayan Blue represents me
appearances deceiving
seemingly the artist but in fact the instrument
not real in a sense
not true
straight lines anyway, like the shape of a brush
Mayan Blue is an Indigo, which to me represents no
perhaps it is to no like a 100 year sleep is to death
perhaps it represents longevity, the pigment is valued for that
but in a strange way as it has to be recreated
it does not exist as a solid rock
about immortality perhaps?
long lines perhaps

not circles or straight lines
Jadeite and Raw Sienna makes green like trees
small shapes like leaves
not big round worlds or little ones in Blue because Mayan Blue is not a rock
so perhaps blue like the sea
small shapes like sea spray
highlighted by Raw Sienna
waves are the lines, the framework
the worlds here could be the oceans
like oceans of delight in n.8 in Jadeite joy