The Government of Mexico has partnered with Toronto's Harbourfront Centre Hot & Spicy Food Festival, to invite Oaxacan chef Pilar Cabrera to compete in its Iron Chef competition. The festival, which runs from September 4th through the 7th, will feature Chef Cabrera competing against a chef from Louisiana, USA, in a semi-final scheduled for Sunday September 6 at 4:30 pm. The winner of this and the other semi-final will compete for the Iron Chef title the following day. This appearance for Chef Cabrera adds to the earlier noted dates of her Toronto culinary tour. The full calendar of events, with websites in most cases indicating chef Cabrera's attendance, now reads as follows (not including private dinner party engagements:
Harbourfront Centre Hot & Spicy Food Festival, Iron Chef Competition, Sept 6
http://www.harbourfrontcentre.com/worldroutes/festivals.cfm?id=1284
Frida Restaurant, Sept 16
http://fridarestaurant.ca/events.html
Frank Restaurant, Art Gallery of Ontario, Sept 21
http://www.ago.net/latin-inspirations
Nella Cucina Cooking School, Sept 22 & 24
http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9
Veritas Local Fare, Sept 23
http://localfare.ca/
Torito Tapas Bar, Sept 28
http://www.toritorestaurant.com/index.php (not yet noted on website)
The Chef’s House, Sept 29
http://www.thechefshouse.com (not yet noted on website)
Alvin Starkman, Casa Machaya Oaxaca Bed & Breakfast
8/15/2009
Canadian artist Fiona Dunnett: Images of self and death in Oaxaca are muted with comic style and collage
Alvin Starkman, M.A., LL.B.
Comic strips, a young Canadian’s self portraits, and photographs of violent deaths in a Mexican daily newspaper, make strange bedfellows. But they constitute a major part of the driving force for the creative energies of Fiona Dunnett.
Ottawa-born Dunnett has been living in Oaxaca since 2005. As in the case of so many artists who now reside in this city in southern Mexico, her arrival has been rather circuitous. And like so many others, her artistic talent has been influenced at virtually every stop along the way. At age five she left Canada for Bangladesh with her Canadian diplomat mother and the rest of her family. After three years it was back to Ottawa, and then a further three years in Zimbabwe.
“When I left Zimbabwe I felt close to South Africa. I took a course in stone sculpture while there, so yes, I suppose living in Zimbabwe has had somewhat of an influence on what I do today,” she surmises. But it was her upper level academic training, first at the Canterbury School of Arts, followed by British Columbia’s University of Victoria from which she graduated with an Hons. B.A. in Fine Arts, which exposed her to the personages who have impacted her creativity the most.
“I’ve had a strong interest in the work of Gustav Klimt [1862 – 1918],” Dunnett reveals. The Austrian symbolist painter was one of the most prominent members of the Vienna Art Nouveau movement, yet a controversial figure in his time, criticized for his works being too sensual and erotic. She continues: “But it’s Lichtenstein whose art I’ve actually made more of a conscious effort to respect and carry forward, imprinting it with a bit of my own personality and life experiences.”
Roy Fox Lichtenstein [1923 – 1997] was a prominent American pop artist, whose work was heavily influenced by both popular advertising and the comic book style. The latter clearly shines through in Dunnett’s more recent works, and in an earlier piece which graces a wall in her home in Oaxaca’s Xochimilco neighborhood which she shares with her boyfriend and three others: “That one’s based on a dream I had, certainly with overt comic book imagery; in the particular dream there was a calenda (parade), with bodies being dragged through the streets. I once did a series based on my dreams. I dyed the red sky forming part of the background of this canvas with cochineal [the minute insect with naturally produces carminic acid, and was an important export industry for Oaxaca during colonial times].”
Dunnett is much too modest. Since moving to Oaxaca there’s no doubt that she’s put her own mark on the comic style, with her un-daunting desire to learn, and innovate. The geographical, cultural and political environment in which she lives provides her with diverse opportunities for artistic inspiration. She attended a workshop to learn about the use of natural dyes such as flowers, plants and of course cochineal, at the educational and research facility known as Centro de Difusión de la Grana Cochinilla Tlapanochestli. “For quite some time I’d been thinking about using natural dyes in my work, but it wasn’t until a couple of years ago that I realized that here in Oaxaca [actually a few kilometers out of the city, in Santa María Coyotepec] I had the opportunity to learn about their use from an expert, Manuel Loera Fernández, the chemist at Tlapanochestli. There’s just so much artistic stimulation in Oaxaca that it’s hard to resist taking advantage of everything available.”
Dunnett has also participated in more traditional hands-on seminars, at the well-known Graphic Arts Institute of Oaxaca (IAGO) and at a couple of other institutes in the city. Towards the other end of the spectrum, she credits two local graffiti stencil art groups with providing her with additional inspiration, which becomes apparent after an examination of her work.
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment.
Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett’s work is her use of collage --- cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait:
“I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don’t feel comfortable photographing even him. So it’s all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it’s an experiment, using a face that’s not my own --- I think it’s best if I stick to my own face.”
Each face evokes different emotions, and images of self. “The faces make eye contact; viewers’ eyes move around each work and then return to the eyes and face,” she explains. It’s undeniable that Dunnett’s own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work.
But there’s another reason we return to the images of Dunnett’s facial expressions: The torso and limbs of each primary subject portrayed is far too troubling --- each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm.
“I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it’s on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.”
Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it’s curiosity in her face, rather than demonic imagery of death, which draws one in.
The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett’s own self. It’s that combination which maintains the viewer’s awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
Comic strips, a young Canadian’s self portraits, and photographs of violent deaths in a Mexican daily newspaper, make strange bedfellows. But they constitute a major part of the driving force for the creative energies of Fiona Dunnett.
Ottawa-born Dunnett has been living in Oaxaca since 2005. As in the case of so many artists who now reside in this city in southern Mexico, her arrival has been rather circuitous. And like so many others, her artistic talent has been influenced at virtually every stop along the way. At age five she left Canada for Bangladesh with her Canadian diplomat mother and the rest of her family. After three years it was back to Ottawa, and then a further three years in Zimbabwe.
“When I left Zimbabwe I felt close to South Africa. I took a course in stone sculpture while there, so yes, I suppose living in Zimbabwe has had somewhat of an influence on what I do today,” she surmises. But it was her upper level academic training, first at the Canterbury School of Arts, followed by British Columbia’s University of Victoria from which she graduated with an Hons. B.A. in Fine Arts, which exposed her to the personages who have impacted her creativity the most.
“I’ve had a strong interest in the work of Gustav Klimt [1862 – 1918],” Dunnett reveals. The Austrian symbolist painter was one of the most prominent members of the Vienna Art Nouveau movement, yet a controversial figure in his time, criticized for his works being too sensual and erotic. She continues: “But it’s Lichtenstein whose art I’ve actually made more of a conscious effort to respect and carry forward, imprinting it with a bit of my own personality and life experiences.”
Roy Fox Lichtenstein [1923 – 1997] was a prominent American pop artist, whose work was heavily influenced by both popular advertising and the comic book style. The latter clearly shines through in Dunnett’s more recent works, and in an earlier piece which graces a wall in her home in Oaxaca’s Xochimilco neighborhood which she shares with her boyfriend and three others: “That one’s based on a dream I had, certainly with overt comic book imagery; in the particular dream there was a calenda (parade), with bodies being dragged through the streets. I once did a series based on my dreams. I dyed the red sky forming part of the background of this canvas with cochineal [the minute insect with naturally produces carminic acid, and was an important export industry for Oaxaca during colonial times].”
Dunnett is much too modest. Since moving to Oaxaca there’s no doubt that she’s put her own mark on the comic style, with her un-daunting desire to learn, and innovate. The geographical, cultural and political environment in which she lives provides her with diverse opportunities for artistic inspiration. She attended a workshop to learn about the use of natural dyes such as flowers, plants and of course cochineal, at the educational and research facility known as Centro de Difusión de la Grana Cochinilla Tlapanochestli. “For quite some time I’d been thinking about using natural dyes in my work, but it wasn’t until a couple of years ago that I realized that here in Oaxaca [actually a few kilometers out of the city, in Santa María Coyotepec] I had the opportunity to learn about their use from an expert, Manuel Loera Fernández, the chemist at Tlapanochestli. There’s just so much artistic stimulation in Oaxaca that it’s hard to resist taking advantage of everything available.”
Dunnett has also participated in more traditional hands-on seminars, at the well-known Graphic Arts Institute of Oaxaca (IAGO) and at a couple of other institutes in the city. Towards the other end of the spectrum, she credits two local graffiti stencil art groups with providing her with additional inspiration, which becomes apparent after an examination of her work.
“I began moving out of realism and into stylized, surreal works towards the end of my Canadian academic training. It was about the same time that I began working with mixed media, my strong preference at this stage of my development.” Coming to Oaxaca was perhaps the catalyst she required in order to begin more experimental work, within the context of an extremely encouraging environment.
Aside from a leaning towards the use of natural colors for backgrounds on her canvasses, one of the major identifying features of Dunnett’s work is her use of collage --- cut-outs from newspapers, magazines and comic books. Another is using photographs of her own head and face to provide the stimulus for her portrayal of expressions and poses she seeks to capture for each subject. Almost every head in every work is based on a self-photographic portrait:
“I started doing self-portraits when I began doing photography several years ago. Then when I moved into painting, I had this corpus of self-photos, so I was able to draw from them for my art. Although I wanted to shoot other people, I never felt at ease doing so. And though my boyfriend and I have been together for close to four years, I still don’t feel comfortable photographing even him. So it’s all me, perhaps because of being shy when it comes to shooting others. But that red one over there, textured with corn husks from tamales, it’s an experiment, using a face that’s not my own --- I think it’s best if I stick to my own face.”
Each face evokes different emotions, and images of self. “The faces make eye contact; viewers’ eyes move around each work and then return to the eyes and face,” she explains. It’s undeniable that Dunnett’s own pleasing facial features, and her comport, once transferred to canvas, play a significant role in directing the viewer. She has masterfully photographed her head and upper body at every angle and with a plethora of facial expressions for use in her work.
But there’s another reason we return to the images of Dunnett’s facial expressions: The torso and limbs of each primary subject portrayed is far too troubling --- each is a digitalized version of a photograph of a person who has died a violent death, usually in a traffic collision or as a consequence of domestic conflict, captured by Dunnett from both print and online versions of a Oaxacan daily, Noticias Voz e Imagen de Oaxaca. But in the artist herself, there is a sense of calm.
“I started using those photographs because they just began to jump out at me. You never see anything like it in Canada. In Oaxaca, it’s on the street corners and in the newsstands. Death here seems to be an everyday thing, and attitudes towards death are so different than from where you and I come from, not so hidden away.”
Dunnett stresses that her intention is not to invoke feelings of horror, nor reveal the gruesome. The facial expressions she initially captures with a lens, then transposes onto canvas with brush, lead us away. In the case of her work with a collaged iguana, it’s curiosity in her face, rather than demonic imagery of death, which draws one in.
The juxtaposition of death against the aesthetics of comic imagery is striking, almost as much as the multiplicity of presentations of Dunnett’s own self. It’s that combination which maintains the viewer’s awe of and transfixation upon her work. Perhaps Fiona Dunnett never should break out of her reticence about photographing the faces of others.
Alvin Starkman has a Masters in Social Anthropology from Toronto’s York University, and a law degree from Osgoode Hall Law School. Alvin ceased practicing law in 2004, when he and his wife Arlene began living permanently in Oaxaca. Since that time, Alvin has written over 90 articles about life and cultural traditions in and around Oaxaca and its central valleys, for newspapers, magazines, and websites promoting tourism in Mexico and abroad. Alvin and Arlene operate Casa Machaya Oaxaca Bed & Breakfast (http://www.oaxacadream.com).
8/13/2009
September final itinerary for Oaxaca culinary month in Toronto
For those who reside in Southern Ontario or will be visiting Toronto, September offers a rare opportunity to indulge in authentic, Oaxacan food, prepared by one if the best in the business, native Oaxacan chef Pilar Cabrera.
Pilar Cabrera, owner of Casa de los Sabores Cooking School and Restaurante La Olla, will be in Toronto from September 10th through the 29th, as honoured guest chef at several Toronto restaurants; and teaching the art of Oaxacan gastronomy at a popular cooking school. And for a limited number of dates, Pilar will also be available for private dinner parties for those wishing to showcase the rich tradition of Oaxacan cuisine to friends and family in their own home. (Scroll down for details of an up-to-date schedule of dates and events).
Those who attend one of Pilar’s events will be able to participate in a raffle for a complimentary week’s accommodations in Oaxaca, to be awarded to two lucky couples.
For Americans and Canadians who have not had an opportunity to learn about Oaxaca’s rich culinary heritage by taking one of Pilar’s classes or dining at her restaurant, a brief biographical sketch is in order.
Pilar grew up in Oaxaca, enveloped by the state’s history of culinary diversity and unique ingredient and flavour combinations. She learned the basics and the cuisine’s subtleties from her mother and grandmother. After completing a food engineering and nutrition degree in Mexico City, she worked in research and development for the food giant Herdez-McCormick before returning to her true passion – cooking.
Pilar has found a growing fan base of intrigued foodies through her “House of Flavours” cooking school. As well, she has taught both novice and renowned chefs from around the globe. Well known American chef and owner of Chicago’s Frontera Grill, Rick Bayless, regularly brings his own staff as well as private groups of food aficionados to Oaxaca, where they dine at Pilar’s restaurant, and attend her classes – at his insistence. Chef Bayless recently had this to say about Pilar:
I would strongly urge anyone with an interest in Mexican food to take advantage of any opportunity to learn from and experience the Oaxacan cuisine of Pilar Cabrera. She is one of the greats!
And if that praise isn’t enough, both New York Times and Bon Appetit have echoed similar sentiments.
Pilar’s schedule of September attendances in Toronto, thus far, is as follows:
· Wednesday, September 16th at Frida (http://www.fridarestaurant.ca/index.html ) - arguably Toronto's best Mexican restaurant where Pilar will be cooking with the chef/owner of Frida- Jose Haddad. That will likely be a six-course dinner event- half the menu prepared by Pilar, half by Chef Jose;
· Sunday the 20th, Private Dinner Party;
· On the 21st of Sept., Pilar will be at the Art Gallery of Ontario’s Frank Restaurant, preparing a Prix Fixe Menu with the talented Chef Anne Yarymowich and her team. That evening will also feature Latin American/Mexican art for diners to enjoy. http://www.ago.net/frank-restaurant-contemporary-comfort-cuisine-toronto
(we’re hoping to get Mexican artist Gabriela Campos to participate);
· On the 22nd of September (Tuesday), Nella Cucina's Cooking School under culinary Director Joanne Lusted's guidance, is hosting Pilar for a cooking class. To order your spots on-line- go to: http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9 or feel free to call the school if you'd prefer. It will be an, interactive demo class where you'll learn how to make Oaxacan classics from Pilar herself and take home the recipes too;
· On the 23rd of September, Chef Pilar joins the Food Network Canada's Brad Long at VERITAS located on King Street East for a special multi-course, prix fixe meal. http://www.dine.to/profile_features.php?feature=website&id=3710 - the focus here will be on using as many local, seasonal and sustainable products from Ontario as possible, in keeping with Chef Long's philosophy;
· Nella Cucina’s Cooking School has reserved this date for members of the Women’s Culinary Network;
· The 28th of September- Pilar will prepare a Botanas-based menu for Torito Tapas Bar & Restaurant in Kensington Market. She'll join Torito´s talented team to bring Torontonians Mexico's version of tapas which are sure to please: http://www.toritotapasbar.com/ ;
· On the 29th, the culinary students and professional chefs of George Brown College's "The Chef's House" will host Pilar for her last guest cooking spot in Toronto. She'll craft a special menu prepared by her and the students for her farewell dinner to Toronto. http://www.thechefshouse.com/ .
Feel free to contact whichever venue interests you to ascertain hours of operation and further details. Alternatively you can contact Toronto food researcher, writer and TV producer, Mary Luz Mejia, who has been instrumental in orchestrating Pilar’s visit, at 416 -763-3455; or email, mluzy@hotmail.com.
This culinary tour is the first of hopefully several forays by Oaxacans who are at the pinnacle of their careers, into Canada. All proceeds from this series of events will go directly to Pilar. Proceeds of future tours, by others, will follow suit.
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
Pilar Cabrera, owner of Casa de los Sabores Cooking School and Restaurante La Olla, will be in Toronto from September 10th through the 29th, as honoured guest chef at several Toronto restaurants; and teaching the art of Oaxacan gastronomy at a popular cooking school. And for a limited number of dates, Pilar will also be available for private dinner parties for those wishing to showcase the rich tradition of Oaxacan cuisine to friends and family in their own home. (Scroll down for details of an up-to-date schedule of dates and events).
Those who attend one of Pilar’s events will be able to participate in a raffle for a complimentary week’s accommodations in Oaxaca, to be awarded to two lucky couples.
For Americans and Canadians who have not had an opportunity to learn about Oaxaca’s rich culinary heritage by taking one of Pilar’s classes or dining at her restaurant, a brief biographical sketch is in order.
Pilar grew up in Oaxaca, enveloped by the state’s history of culinary diversity and unique ingredient and flavour combinations. She learned the basics and the cuisine’s subtleties from her mother and grandmother. After completing a food engineering and nutrition degree in Mexico City, she worked in research and development for the food giant Herdez-McCormick before returning to her true passion – cooking.
Pilar has found a growing fan base of intrigued foodies through her “House of Flavours” cooking school. As well, she has taught both novice and renowned chefs from around the globe. Well known American chef and owner of Chicago’s Frontera Grill, Rick Bayless, regularly brings his own staff as well as private groups of food aficionados to Oaxaca, where they dine at Pilar’s restaurant, and attend her classes – at his insistence. Chef Bayless recently had this to say about Pilar:
I would strongly urge anyone with an interest in Mexican food to take advantage of any opportunity to learn from and experience the Oaxacan cuisine of Pilar Cabrera. She is one of the greats!
And if that praise isn’t enough, both New York Times and Bon Appetit have echoed similar sentiments.
Pilar’s schedule of September attendances in Toronto, thus far, is as follows:
· Wednesday, September 16th at Frida (http://www.fridarestaurant.ca/index.html ) - arguably Toronto's best Mexican restaurant where Pilar will be cooking with the chef/owner of Frida- Jose Haddad. That will likely be a six-course dinner event- half the menu prepared by Pilar, half by Chef Jose;
· Sunday the 20th, Private Dinner Party;
· On the 21st of Sept., Pilar will be at the Art Gallery of Ontario’s Frank Restaurant, preparing a Prix Fixe Menu with the talented Chef Anne Yarymowich and her team. That evening will also feature Latin American/Mexican art for diners to enjoy. http://www.ago.net/frank-restaurant-contemporary-comfort-cuisine-toronto
(we’re hoping to get Mexican artist Gabriela Campos to participate);
· On the 22nd of September (Tuesday), Nella Cucina's Cooking School under culinary Director Joanne Lusted's guidance, is hosting Pilar for a cooking class. To order your spots on-line- go to: http://www.nellacucina.ca/cucina/event.html?Year=2009&Month=9 or feel free to call the school if you'd prefer. It will be an, interactive demo class where you'll learn how to make Oaxacan classics from Pilar herself and take home the recipes too;
· On the 23rd of September, Chef Pilar joins the Food Network Canada's Brad Long at VERITAS located on King Street East for a special multi-course, prix fixe meal. http://www.dine.to/profile_features.php?feature=website&id=3710 - the focus here will be on using as many local, seasonal and sustainable products from Ontario as possible, in keeping with Chef Long's philosophy;
· Nella Cucina’s Cooking School has reserved this date for members of the Women’s Culinary Network;
· The 28th of September- Pilar will prepare a Botanas-based menu for Torito Tapas Bar & Restaurant in Kensington Market. She'll join Torito´s talented team to bring Torontonians Mexico's version of tapas which are sure to please: http://www.toritotapasbar.com/ ;
· On the 29th, the culinary students and professional chefs of George Brown College's "The Chef's House" will host Pilar for her last guest cooking spot in Toronto. She'll craft a special menu prepared by her and the students for her farewell dinner to Toronto. http://www.thechefshouse.com/ .
Feel free to contact whichever venue interests you to ascertain hours of operation and further details. Alternatively you can contact Toronto food researcher, writer and TV producer, Mary Luz Mejia, who has been instrumental in orchestrating Pilar’s visit, at 416 -763-3455; or email, mluzy@hotmail.com.
This culinary tour is the first of hopefully several forays by Oaxacans who are at the pinnacle of their careers, into Canada. All proceeds from this series of events will go directly to Pilar. Proceeds of future tours, by others, will follow suit.
Alvin Starkman - Casa Machaya Oaxaca Bed & Breakfast
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