Tuesday, February 5, 2013

IN GOOD TASTE: INNOVATION AT RESTAURARE

A RECENT VISIT TO TULUM, MEXICO uncovered the Mexican restaurant of our dreams. So discretely tucked away off the main road that even a local taxi driver had difficulty finding it, the beautifully-designed open air Restaurare felt like an oasis of creative vegan Mexican food. It’s no wonder that the restaurant’s name is inspired by the philosophy of restoring the spirit. Chef Karla Madrazo’s and her partner Roberto Mattocks’s vision for a restaurant was one with as little environmental impact as possible, and one that respected animals and humans. “The goal is to give vegetarians, vegan or anybody, the chance to know and taste delicious Mexican food, but consciously and happily,” explains Karla. The Chef’s talents are evidenced in thoughtful dishes that combine tradition and innovation—a result of inheriting her mother’s cooking secrets and a modern education at culinary school. “I grew up with a mother so good at cooking Mexican food that I just have it in my cells,” Karla tells us.

And here is where she shares a little history lesson… Prior to the 18th century, restaurants didn’t exist— only taverns where travelers could get soup, a drink, and sometimes a place to stay for the night. In 1765, a man named Dossier Boulanger hung a sign outside of his Paris tavern that read in Latin: “Come to me, men of tired stomachs, I will restore you.” At Restaurare, this sentiment is executed to perfection. We left our dinner full, energized and warmed by Karla’s and Roberto’s genuine affability. As we fantasize about them opening up a second location in New York City, please enjoy these recipes directly from the Chef:

TACOS PIBIL

Pibil soy ‘meat’
1 piece bitter orange
½ cup water
1 tbsp recado rojo
1 tbsp vegetable seasoning
1 tsp salt
1 cup texturized soy

Mix everything together in a pot and put on high heat. When it is boiling add the texturized soy, integrate really well with a spoon and turn off the heat.

Tip: If you can’t find ‘recado rojo,’ try finding achiote— a red paste that mayans used to put on their faces during rituals. You can mix it with dry oregano, onion, garlic, black pepper and salt and make your own recado rojo!

Xnipek
1 piece red onion
2 pieces lime
1 piece habanero chili
1 tsp salt
1 pinch black pepper

Cut the red onion into small cubes or ‘brunoise’, add the juice from limes salt and pepper. Cut the habanero chili really small and put it in. At the beginning it will be spicy but with time you’ll start to feel it is less spicy. Correct seasoning if needed.

Black bean spread
1 pound black beans
¼ piece white onion
1-2 cloves  garlic
salt to taste

Put everything in a pressure pot and cook as you usually do. I like to leave the water for beans a little bit salty so when cooked it’s flavorful (the water has to taste with a hint of saltiness). When they’re cooked, process the beans with some of the cooking liquid and the spread is ready!

Tip: if you want the spread even more flavorful try sautéing white onion and garlic (chopped), add the processed beans and correct seasoning.

Tacos
3 pieces handmade tortillas
3 tbsp black beans spread
6 tbsp pibil soy ‘meat’
¼ piece iceberg lettuce or any local (finely sliced)
3 tbsp alfalfa sprouts
3 tsp xnipek

Plate the tacos as you prefer, or you can follow Restaurare’s presentation:

To start, spread a tablespoon of the black beans on the tortilla, then 2 tablespoons of the pibil soy. Top it with lettuce, alfalfa sprouts and xnipek on top. Try keeping everything in the middle so as you’re plating it looks neater, and serve.

COCONUT CHIA SALAD

Vinaigrette
2 pieces lime
1 tsp dijon mustard
½ tsp salt
¼ tsp black pepper
5 tbsp organic coconut oil
1 tsp chia seeds

Salad
1/3 piece romaine lettuce (or the local one you prefer the most!)
¼ piece cucumber
1 piece tomato (wedges)
½ piece carrot (sliced)
1/8 piece red onion (sliced)
Sunflower or pea sprouts, preferred amount (or any available sprout)

How to get there:
The vinaigrette is really easy: we’re making an emulsion from the acidity of the lime and the oil from coconut. Mix the lime juice with the Dijon mustard, chia seeds, salt and pepper (still you will have to correct seasoning at the end, depending on the ingredients). Whisk really well before adding the oil until you see it starts to make a few bubbles. Then, start adding the coconut oil slowly so it can integrate while you keep whisking. Ingredients change from one place to another so maybe you’ll need more lime or more coconut oil but the taste has to be a little bit salty so when mixed with the salad it is still flavorful.

Try to get a crispy cucumber, a sweet tomato, a powerful red onion and limes with a lot of juice.
Choose the ingredients you like the most for the salad, we chose these because they’re local, fresh and tasty, toss them with your homemade vinaigrette and enjoy!

Tip: you can try other vinaigrettes with the same principle of getting and acidic ingredient and any type of oil.

 

Learn more about the restaurant at:
Restaurare

Photographs courtesy of Restaurare

Wednesday, January 30, 2013

THE WITNESS: PHOTOGRAPHER JO-ANNE McARTHUR

Pig in Transport Truck

IF “PHOTOGRAPHY IS TRUTH,” as Jean-Luc Godard once proclaimed, then photographer Jo-Anne McArthur’s camera is like a floodlight, illuminating what is so often hidden and dismissed in our society— the plight of animals. With her trained eye and empathetic resolve, she documents the suffering, distress, confusion and sadness of the ones who are confined; then shows us the joy and contentment of those lucky enough to be free. Jo-Anne has been putting truth on film and pixel for over ten years. She has traveled the world with her documentary project We Animals, contributing her photos to countless animal liberation campaigns. Each of her images is at once a question that lingers, a confrontation with our own conscience… and a call to action. Most recently, she documented the transport of pigs to slaughter in below freezing weather in Canada, as part of the Toronto Pig Save vigils. Her images will be featured in the upcoming film The Ghosts In Our Machine (directed by Liz Marshall), which tells the stories of animals who are used for food, clothing, entertainment and research. Jo-Anne appears to be ubiquitous, working tirelessly to make a difference. Here, she talks to us about the drive behind her work, and her love for animals.

Why did you feel it was important to be there on those freezing afternoons in Toronto to photograph the transport trucks?
It’s in extremes of weather that the pigs suffer most. The pigs are acclimatized to the indoors until they’re sent to slaughter, so the cold is a big change for them and they don’t have much hair to keep them warm. By the time they’ve spent hours in those transports in extreme weather, many are huddled on the floor, unable to move or respond. Some are dead. When I’m there to witness and document, I can’t help but put myself in their position. There I am, outside with cold feet and a cold nose, but they are bare-skinned and exposed to the wind rushing through the transport for long stretches of time. Their pain is crippling. Their forthcoming deaths are bad enough, but this as a prelude? It’s shameful. Needless deaths and needless suffering. I go to witness, to document, and share what I’ve learned.

What reactions have you been met with?
When we’re at Toronto Pig Save vigils, we’re met with extremes of opinion, to be sure. Some honk, wave, give thumbs up and enthusiastic support for us as we stand vigil on what has come to be known as “Pig Island”. Others make sure we see their middle finger or let us know with much originality that they love bacon. The trucks started detouring, or not going into the left-turning lane so that we couldn’t document the inside of their trucks. For the most part though, there haven’t been many efforts to censor. Mind you, the police get called fairly regularly but there’s not much they can do except tell us to obey the rules of the road. Toronto Pig Save takes a Gandhian approach to protesting; this is a peaceful movement and a pro-labour movement as well. We’re not there to anger or antagonize anyone, we’re there to open people’s eyes about the pig slaughterhouse in the neighbourhood, where 6000 pigs a day are killed. We’re there for the pigs and we’re there to show an alternative to treating animals this way.

Rescued Pig

Describe your emotions looking at the pigs. People rarely get to witness the transport of animals to slaughter, because of the industry’s notorious secrecy.
Yes, it’s an industry shrouded in secrecy, but if we take steps to witness, there’s never far to go before we can see what happens. Transports carrying animals are always going up and down most highways and in and out of cities. We believe in witnessing so that we can share those stories and show those photos, so that others can know what it’s like for the animals as well. When you witness this sort of pain and suffering, it changes you. It changes most people, and makes them want to take action, makes them want to stop eating pigs. Countless times, people are moved by the sadness in a way that motivates them and inspires them to return to witness again, and to speak out about what goes on. When we do this as a community, we can support each other, and we do. It helps to process the feelings of sadness and hopelessness. The community is growing; Toronto Pig Save has now become the “Save” movement, with groups cropping up in Canada, the USA and in Australia. Witnessing as a community is working, it’s inspiring people in so many ways.

But how do we feel about seeing the pigs in transport? It’s just plain difficult. Many of us cry. Many of us speak kindly to the pigs as they go by. In warmer weather, many  pigs come to the openings in the transport walls and sniff our hands and faces, and we pet their faces. We try to show them some kindness before they die. On a personal level and as a photographer, I balance the feelings of sadness with the necessity of work. I’m there to take really strong images so that others can witness too, and I need to do that work well. I have to concentrate on framing the picture well, documenting the pigs’ faces, eyes, injuries, the cramped conditions. It’s depressing work but it’s an honour to be able to contribute to the movement, and to change, and it always moves me to be with the animals. This is always where my heart is: being with the animals in some way, trying to help, sometimes bringing them comfort if I can.

Bird and fish in market

Your photography is your activism, and your camera can be called your weapon in fighting injustice. What has led you to photography, and specifically to documenting the plight of animals?
Yes, photography is my tool for animal rights activism, and it’s great to see so many more people doing this as well, be it undercover or wide out in the open, documenting injustice everywhere. What led me to photography… while I was studying at University I took an elective black and white printing class, and after that first class, that was it for me, it felt as though I’d found my “calling.” I’d always loved photography, but at that point my love deepened and I knew it would be a great tool in life for me, because I’m so curious about things… cameras can sometimes act as an all-access pass to the lives of others. I had some good advice along the way too; my mum had told me to figure out what I love doing, then find a way to make a living doing it. This was great, especially when so many kids are subconsciously fulfilling their parents wishes, or doing what they think they should do, when they pick their schooling or career path.

I also had some great advice from a photographer mentor of mine, Larry Towell, who told me to stop looking so far afield for stories, to look inside instead. “Do what you love” and “do what you know” are things he said, and that struck a chord. I loved helping animals, always did. Soon I realized I could combine my loves for photography and helping animals. I don’t make a living doing it, mind you (I do commercial, event and portrait photography to pay the bills), but I’m definitely doing what I love.

How do you remain in positive spirits, despite the suffering you’ve seen?
I try to balance the bad with the good. I have to. We have to. Being beaten down with the suffering every day leads to burn out, compassion fatigue, or a dropping away from activism and the issues we care about. I suffered and recovered from PTSD because of what I’ve witnessed through shooting for campaigns and the We Animals project, so I have learned to take care of myself and to celebrate the good. We really all need to do this; find balance in our activism, and take self-care seriously. We can keep our optimism and our eyes on the goal by focusing on the good happening all around us, by supporting one another in our work and by celebrating change. Don’t forget change is happening, and it’s happening because of millions of compassionate people out there making small and big adjustments to their lives, things that will ease the suffering of animals. Celebrate the good. Keep your eye on the prize (which is animal liberation, of course!).

Rescued GorillaRescued Bear

What kind of effect have your images produced in people?
One of the best parts of We Animals for me is hearing and reading people’s responses to it. I get a lot of emails about the work and how it has changed people’s worlds. I know the photos are effective, and that’s part of what keeps me going. Many people have written to me about giving up meat after seeing and reading work from the We Animals site, and many have found a calling in activism as well. It’s pretty exciting!

Where is your work taking you next?
I continue to attend Pig Save vigils and will actually be documenting Melbourne Pig Save in early March, in Australia. I’ll be there for a month to work with various animal rights groups, as well as documenting rescue and sanctuary work. Then I’ll be in Senegal doing volunteer humanitarian work (photography) with a Canadian medical team, then from there, heading north to Europe to work with some great teams of investigators again. Lots going on! Liz Marshall’s film The Ghosts In Our Machine will be in theaters this year as well, so there will be a lot happening around that. It’s a strong film about the moral question of animals as property versus sentient being, and will be a force in bringing animal issues to the fore. I hope to be back in India by the end of the year, and I’ll continue to help and contribute to local and global campaigns as much as I can. The photos from the We Animals archive are made available to groups who are helping animals and furthering a message of compassion, so it’s great that the archive can continue to be useful even while I’m doing other things.

Jo-Anne McArthur with Orlando

Learn more at:
We Animals
Toronto Pig Save
The Ghosts In Our Machine

Story and interview by Julie Gueraseva
Photographs by Jo-Anne McArthur
Photo of Jo-Anne by Nick Ugliuzza

Monday, January 14, 2013

PORTRAIT OF A PAINTER: JUSTIN BUA

Justin Bua

JUSTIN BUA is a celebrated artist, with a best-selling collection of fine-art posters and a loyal, international fan base (over 27,000 likes on his Facebook page at last count!). His dynamic, intricate paintings have been displayed in solo shows at fine art institutions like LACMA (Los Angeles County Museum of Art ), and are in the private collections of the likes of Kareem Abdul-Jabbar, Eva Longoria and Christina Ricci. “Bua’s stylish renderings jump right at you, hit you between the eyes with their energy,” is how author Elmore Leonard once described his work. Justin’s illustrated books— “The Beat of Urban Art”- a visual journey through Justin’s youth in New York; and “The Legends of Hip Hop” – an homage to some of the biggest names in hip hop— are already considered classics. “Any opportunity I have, I draw,” says Justin. Indeed, if you follow him on Instagram, you are treated to a stream of new artwork- uploaded daily, sometimes multiple times a day. His nurturing rapport with his artistic young fans is inspiring. Having once been a professor at University of Southern California for 12 years, his upcoming art venture is a fitting return to his roots. Here, he gives us an exclusive glimpse and talks about his busy life.

Tell us about BUA University.
I have an online University that I’m going to be doing. I am pretty excited about that! I will be teaching 150 classes online. It’s going to be an amazing situation where I could kind of just go off… more than teaching, it’s a little bit more “edutainment”- fun and fantastic. You can download classes whenever, and it’s for all ages and levels. It’s interactive- if you do work that you want to show me, you shoot it off, I download it and provide a critique. The site will go live this summer.

Wow, sounds incredible! Talk about your art process a bit.
I work in a really old-school kind of way: I work the drawing up with thumbnails, and then I move to finished line drawing, then move to value keys, and then I move to color keys. Value keys tell me what my darkest dark and my lightest light is. Color keys which tells me the temperature, the time of day- is it sunny? is it overcast? is it sunset? I just keep working like that until I figure it out. It’s a very laborious kind of process. But I have to do it, since most of the time I’m not just doing portraits, I’m usually doing a whole scene, I’m creating an entire world and a place. It can take anywhere from a day to a couple of weeks, depending on the project.

And your heroes?
I have contemporary heroes like Ralph Steadman. And then I love Rembrandt. Rembrandt is one of my all-time favorites. Daumier is another one. George Bellows. I love Picasso, because he was such a crazy artist, and you really feel the love and spirit of what he does. I love a lot of graffiti writers—a tremendous art form. Saber is really great, a good friend of mine.

Studio

Your food choices must play a role in your hectic schedule. What does veganism mean to you?
I grew up on all the acronyms you could think of- McD, KFC, MSG. As I started to investigate and read Eric Schlosser’s “Fast Food Nation,” or John Robbins’ “Diet for a New America” or Howard Lyman’s ‘Mad Cowboy,” I started to feel like- wow, I was really kind of bamboozled! I felt like there was a certain hoax and poisonous lie that was permeating the reality that I was living. I almost felt angry, I thought, “this is insane.” I thought, “I’m angry, I’m not going to take it anymore. I’m going to DO something proactive”- which is really what veganism is. So- I’m not going to buy your steroid-antibiotic-poisonous-slaughtered-meat. But I’m rather going to support my local farmer, who is making a decent wage, who is growing food that is not harming the environment, not killing animals and it’s holistically better.

A friend of mine is an ex-Arizona State linebacker. I work out hard- I’ll turn up the volume, work out for two hours… functional strength, Crossfit, circuit training. And he’s like, “I’ve never meant anybody like you, I thought all vegans were kind of like “new age, woo woo, pretentious, privileged people.” Because a lot of people have that perception.

So some may be surprised by the connection between veganism and a counter-cultural art form like hip hop. Can you explain?
The real vegan story comes from the same place that the real hip hop story comes from, which is- “I’m going to look into what’s going on with the system, I’m going to evaluate it, I’m going to investigate it, and then I’m going to do something about it. And change it.” If you really look back at people like Afrika Bambaataa- he was the guy who was promoting veganism and vegetarianism, and if you ate pork, you would get beat down. Before I was even learning about it, kids like my friend Mr. Wiggles from the Rock Steady Crew, was already hip to veganism because of Bambaataa.

Real hip hop is counter-cultural, it’s always been a counter-cultural movement- like jazz. It started from the streets, it started as a means to communicate what was going on in New York City. It was street poetry about some of the social injustices of the world. It was about speaking what was really on your mind, because it came from a true place. And veganism in a lot of ways is: we’re not going to buy into what you are trying to sell us. We’re going to talk about it. We’re going to actually really believe in something that’s real.

Justin and Ruby

You and your partner—fellow artist, vegan and author Ruby Roth—have a garden at your home in LA. You also helped build a farm in Hawaii?
Noniland is the farm that I helped build in Kaui. Because of my green thumb, I taught [health guru] David Wolfe how to farm it. He was a bit naïve about how to plant trees—cacao trees in particular, because they need a lot of shade. He thought they needed to be in direct sunlight. His lack of knowledge about tree planting was so ironic, because he’s a genius botanist and super food guru but when it comes to gardening he’s a bit of a grass-assin nincompoop. However after a few days with me, he got on track!

Clearly, you and David are good friends. You even created a drink mix together?
Yes, it’s called “Immortal Machine,” and it has some of the best super foods ever like Cacao, Hemp, Lucuma, Maca and Ashwaganda. It tastes like Nestle Quick, but it’s all raw vegan and organic—might be the best drink mix ever!

You are not only a dietary vegan, but an ethical one as well. What is your view on fur- the sale of which was recently banned in West Hollywood?
Beautiful animals are tortured and murdered for their skin. So sad. If anyone in their right mind saw how they get fur, they wouldn’t wear fur. Its an evil industry.

Read our in-depth feature, “Eat, Paint, Love,” on Justin and Ruby in our Premier Issue page 37 (written by Stacy Gueraseva)

And to get the latest news on BUA University, follow Justin on Instagram.

Photographs of Justin Bua, Ruby Roth and their studio by Colin Hornett, exclusively for Laika Magazine.