19 minute read
in the spotlight
Art of the matter
It should come as no surprise to learn that many bartenders have a background in the arts – just like the drinks they make, art is multifaceted and comes in many forms. We talk to five movers and shakers who always have art on the agenda
LB \ I like to think I use
Laura Brady
Co-owner of Groovy Fluids, World Class Netherlands Winner 2021 and Bartender at The Duchess, Amsterdam
Tell us about your artistic talent/passion: what is it, when did you discover you had a talent for it and who, if anyone, inspired you in the early stages? There are many things I enjoy about art. It’s so multifaceted. It’s engaging, critical, provoking and moving, and it comes in so many different formats. You can both escape reality and be forced to face it with art. I wanted to be an artist because I wanted to feel part of a community that doesn’t set boundaries. I can’t tell you where the initial inspiration came from or the exact moment that I decided that oil was the media for me, but my childhood bedroom still smells like turpentine and I find fresh motivation every time I enter an art space.
Did you study the subject to university level, or take it to a professional level? I began with a BA in Fine Art, which I took to an MA in Contemporary Curating at Manchester School of Art. It was 2017 when I finished my MA, the same year I started bartending.
Why did you make the transition to drinks? For a very similar reason that I transitioned into curating from fine art: I enjoy working with people. Curating was a way of meeting and conversing with more artists while working within a creative community. Bartending was a way of building a diverse community around me, meeting new people every day, and supporting my own creative output through cocktails.
How has your art background translated into your career as a bartender? I like to think I use my art background to elevate my profession wherever I can, which happens subconsciously more than consciously. Recently I’ve been linking the two by taking an art school method of making paints and applying this process to food waste, from cocktail production, to make dye pigments – meaning I can make paints from leftovers. This is the first time I’ve intentionally linked art and bartending. How, if at all, do you think your artistic background translates into your drinksmaking style? As a painter I transitioned into colour layering and reduced expressions of detail, by stripping back scenes to their main structural elements and emphasising these. I feel like I apply a similar process to cocktail creations, by manipulating flavours from a select few ingredients and building a profile based on these. A classic ‘less is more’ approach, with a layering of thought behind it.
Do you have any other artistic outlets? I love to paint, I always have. I understood my love for it when I read Haruki Murakami’s What I Talk About When I Talk About Running, this idea of doing something to find a void. When I paint, I don’t think about anything other than what I’m painting; it’s a perfect way to find peace and balances out a profession that at times can be consuming. With cocktail creation I’m essentially considering others, while painting is thoughtlessly instinctive.
Where are your favourite bars for artistic expression? Growing up my father used to tell me that “everything is art” and he’s right. You can find artistic expression in most bars because the output can be so diverse. I remember feeling blown away by the Artesian Moments menu [in 2018]; it carried so much sentiment with it and united a room full of strangers by prompting their conversation topics with the selection of a cocktail. Like an artwork is the centrepiece of an exhibition, the cocktail became the centrepiece of the evening. Here in Amsterdam, Rosalia’s Menagerie put similar thought into their menu creation and their cocktails strongly reflect that.
groovyfluids.com
Patrick Fogarty
Co-owner, Doctor Ink’s Curiosities, Exeter
Tell us about your artistic talent/ passion: what is it, when did you discover you had a talent for it and who, if anyone, inspired you in the early stages? As a kid I was obsessed with nature and was always drawing it – nature has always influenced my design. While studying an art foundation course, I couldn’t decide on my speciality subject to study at art school. I was torn between choosing product design, sculpture, or jewellery and silversmithing. However, after visiting the Musée des Arts Décoratifs on an art trip to Paris, I came across the ‘Beyond Time’ exhibition of Vivianna Torun Bülow-Hübe, a designer/goldsmith for Georg Jensen who had realised all three disciplines using silver as a medium.
Did you study the subject to university level, or take it to a professional level? I studied jewellery at London’s Central Saint Martins (CSM) for three years. On leaving, I was offered an opportunity to work at Georg Jensen. This led me to Australia, in 1998, where I met Vivianna Torun a year later when she was exhibiting in Sydney. I later left Georg Jensen to work alongside Torun as her assistant – this experience, both with her design and work ethos, has influenced my career ever since. When and why did you make the transition to drinks? My art foundation tutor said that to study jewellery at CSM “you need a doublebarrelled surname and a trust fund”. While this is not strictly true, the course is certainly not cheap; to pay my way I took a job in a club called Legends, in Mayfair, and trained under Richard Hargroves (LAB co-founder). On returning from Australia in 2000, I returned to Legends and then progressed on to its sister venue, Abigail’s Party, as a manager. Alongside this, during the day I had a workshop in Hatton Garden and pursued my jewellery.
How has your art background translated into your career as a bartender/owner? As my bar career progressed – and slowly took over – designing always stayed with me, working with architects, designers and bar owners to create unique bars and drinks. In 2008, I assisted with conceptualising Bureau in Kingly Court in Soho, spending a year from start to launch on every detail. I left Soho to take over – with my wife Dee (at the time, a singer) – a jazz restaurant and bar called The Naked Turtle in Sheen near Richmond. After six years, we then moved to the West Country, where I designed and built an American bar/restaurant called The Bronx Bar & ‘Cue. Following this, with my new business partner Tom Cullen, I have designed and built Doctor Ink’s Curiosities in Exeter and Halulu Bar in Teignmouth, with plans for a new seaside restaurant in late 2022 in Torbay. Building bars uses the same skills as making jewellery but the tools are bigger and I have a greater tolerance for error in measuring when making.
How, if at all, do you think your artistic background translates into your drinksmaking style? Having a jewellery background gives me an almost obsessive attention to detail and research; every drink has layers of hidden meaning and narrative. This translates not only into the actual drinks themselves but into creating some of the serveware and the design of the menus for Doctor Ink’s Curiosities. Take Iolanthe’s Lantern [right], for example. This was made by myself and is a replica of Sir Joseph Swan’s original electric light experiment. Swan invented the light bulb (not Edison as popularly misconstrued) and he had the first electrically lit private house. London’s Savoy Theatre was the first commercial building in the world to use his revolutionary bulbs to light the stage, and the first performance to premiere at the Savoy was Gilbert & Sullivan’s Iolanthe, a tale of forbidden love and fairies where their wings and wands were lit with tiny bulbs (and the term ‘fairy lights’ was born!). The drink we serve in Iolanthe’s Lantern is an aperitif cocktail of the type you’d have prior to watching a performance. Hidden at the base of the glass vessel is a fairy light bulb that lights up, dimming or brightening on touching the metal, giving the guest the surprise and wonder that people would have experienced on first witnessing light bulbs.
Do you have any other artistic outlets? I am constantly being creative with every part of the business, whether conceptualising new drinks lists, designing new bars or developing new products and brand designs – alongside spending time with woodwork, metalwork, ceramics and upholstery to achieve all of the above.
Where are your favourite bars for artistic expression? Three bars that have influenced me most over the years are The Savoy’s American Bar, PDT (Please Don’t Tell) in New York and Oslo’s Himkok. All three are so different visually but all have exuded an attention to detail, from their venue design and drinks to their menus and staff training, that just makes my inner geek swoon!
doctorinks.com
Soran Nomura
Drinks and Bar Consultant, Tokyo
Tell us about your artistic talent/passion: what is it, when did you discover you had a talent for it and who, if anyone, inspired you in the early stages? Since I was a kid, I loved drawing and painting all the time. I was really inspired by the movie, Yellow Submarine by The Beatles; I watched it when I was in primary school and was blown away by the bright colour combinations.
Did you study the subject to university level, or take it to a professional level? I studied arts when I was in high school in Tokyo and at an art college in London.
When and why did you make the transition to drinks? I spent (nearly) all my savings when I was studying English and art in London. I desperately needed to make money so I started bartending. Do you have any other artistic outlets? I like to take photos with film. I prefer film over digital because, although it’s harder to master, it’s always exciting to see how it turned out in the end – you can’t control the outcome.
Where are your favourite bars for artistic expression? In Japan, there are many bars that are very artistic and conceptual but I think the best is Bar Benfiddich, in Tokyo. This place is Mr Kayama’s art world! The glassware, lighting, all the herbs he uses, the homemade liquor… every single detail is spot on. If you haven’t been yet, you must!
abvplus.com
SN \ I realised I loved
How has your art background translated into your career? I think it was the garnish game that felt very similar to the art-making process. Then a few years later, I realised I loved the way you can layer flavours and thought that was very similar to painting. When you are painting, you mix the colours on your palette and that exact same thought process was always in my head when creating cocktails.
How, if at all, do you think your artistic background translates into your drinksmaking style? I like sculpture and three-dimensional objects, so glassware and garnish position are important. I also approach taste threedimensionally, like the balance of sweetness, sourness, bitterness and umami flavour.
Ivy Mix
Co-owner of Leyenda, New York, Cofounder of Speed Rack and author of Spirits of Latin America, published by Ten Speed Press
Tell us about your artistic talent/ passion: what is it, when did you discover you had a talent for it and who, if anyone, inspired you in the early stages? I was raised by two artists: a glassblower and a textile designer. I was also raised in a Waldorf school that specialises in teaching through creativity. Rather than standardised tests and rigid teaching, we were taught through colouring, movement and painting. The result is I am horrible at maths and spelling but I think I’m well versed in thinking things out creatively. Between my parents and my education, I ended up an artistic soul.
Did you study the subject to university level, or take it to a professional level? I went to college to focus on photography and ended up with a degree in fine art and philosophy. My interests in art became less about simple photography and more about fine art; I was particularly into minimalism and abstract expressionism and started treating my photographs as such. My thesis was a sculpture project discussing the falsities of photographic representation. I moved to New York in 2008 after I graduated, thinking I was going to be an artist. I had several studios and did a number of residences. I thought I was going to go to grad school and get an MFA [Master of Fine Arts]. But after working at the Gagosian gallery for a few months, I was incredibly turned off by the art world.
When and why did you make the transition to drinks? As I was living and working in NYC, working at the gallery, I had to bartend and serve at night to make money. When I finally got a job as a cocktail waitress, I had an ‘aha!’ moment: I could be creative and make money, what a novel idea! It was a different art form, less for the eyes and ears, more for the mouth and nose. And that doesn’t begin to take into account the art form of simple hospitality.
How has your art background translated into your career as a bar owner? I can argue that my drinks can be too cerebral. Frequently I want to get across an underlying thesis in a simple drink. But drinks should be tasty and beautiful. I believe that I think about flavours in different ways. We are taught from an early age to describe a million shades of green but we have a limited vocabulary when it comes to considering taste. My art background has made me more fluent in describing flavour and using that to create drinks.
Do you have any other artistic outlets? I got rid of my art studio when I opened Leyenda. I still take photographs but it’s not the same. I really scratch my art itch by going to galleries and reading art reviews. I find that viewing and discussing art can be just as rewarding. Writing my book was also a great creative outlet. Where are your favourite bars for artistic expression? I recently went to Handshake in Mexico City and loved how they put little spotlights on their drinks rail to highlight the gorgeous cocktails. They are already beautiful but the way the directed ray of light shines through the liquid really elevates them. I loved it! Mostly, though, I like my bars a little more low-key.
leyenda.com
IM \ I was raised by two
LC \ When I’m making
La’Mel Clarke
Bartender at Lyaness, London
Tell us about your artistic talent/passion: what is it, when did you discover you had a talent for it and who, if anyone, inspired you in the early stages? I think I was one of the last generations of teenagers who grew up with MTV being a major part of their cultural influence. There was a show called America’s Best Dance Crew that aired on MTV and it was during the first season I decided I wanted to pursue professional training, so I took myself down to Pineapple Dance Studios and started classes.
Did you study the subject to university level, or take it to a professional level? I studied dance for two years at The BRIT School. While I was there, I also joined two dance groups where I was able to venture out into the professional world of dance and choreography. At university I actually studied English literature.
When and why did you make the transition to drinks? I got my first bar job while I was at university, after being fired as a street charity fundraiser.
How has your art background translated into your career as a bartender? I think having a completely separate pool of experiences to pull from has been the biggest win. I definitely see things in a different way. How, if at all, do you think your artistic background translates into your drinksmaking style? When I’m making art, I always like to think of the ‘why?’ and that has definitely been an approach that has bled into the way I make drinks. Deconstructing inspirations, influences and technical processes, in order to understand how to transform them into the final product, is a thread that links my dance career to my bartending career.
Do you have any other artistic outlets? I occasionally write poetry and spoken word.
Where are your favourite bars for artistic expression? In no particular order, London’s NoMad, Tayer+Elementary and A Bar With Shapes For A Name. They’re all pretty stylish in their approach, whether it’s the physical layout, presentation of their drinks or even the staff uniforms. I really appreciate a strong visual that is carried throughout a brand and venue.
@lalalamel_
Mastering the way
“There’s a reason classic cocktails are classics, they’re great drinks right?” So says James Bowker, House of Suntory UK Brand Ambassador
“We’re not looking for bartenders to reinvent something that already works. It’s about subtle changes.” It’s this insight that is at the heart of the programme he was instrumental in creating last year and which, in 2021, is helping bartenders refine their skills in unique ways.
“When we were talking about the things that great bartenders wanted it all came down to a desire to grow their knowledge within their community.” The result is the House of Suntory programme, Dojo, which literally translates as ‘a place to master the way’. And that place is to be found via a series of very special online and in-person bartender masterclasses.
Inspired by the three key pillars of House of Suntory – Hibiki (in harmony with nature), Omotenashi (the experience of Japanese hospitality and culture) and Monozukuri (elevated Japanese craftsmanship) Dojo is a first-of-its kind programme. Engaging with bartenders, it aims to improve their skillset and deepen their understanding of the philosophy and customs that embody House of Suntory. It originally launched online last year with sessions as diverse as science and philosophy, and indeed continues to reach an online audience through the Dojo Academy. For 12 hand-picked bartenders it now also means an exclusive experience as Dojo Senpai, or ‘senior students’, as they join four unique oneday masterclasses at the inspirational Japan House in Kensington, London. Each of the four masterclasses is aligned with a product from the House of Suntory portfolio: Roku and Haku, craft gin and vodka, respectively; and Toki and Hibiki, two exceptional blended whiskies. The sessions are led by James himself, and he is joined by traditional Japanese craft masters who will be inspiring the bartenders with their experience and expertise.
The Roku masterclass focuses on Japanese aesthetics and beauty, with ikebana artist Keiko Smith. In the Haku session, Master Sushi Instructor Izumi Nakamura and Japanese seasoning expert Stuart Turner create a sushi masterclass to explore balance and seasoning.
During the Toki day, Erika Haigh, Sake Sommelier and owner of London’s Bar Moto, joins with Jonathan Kleeman, Head Sommelier at Restaurant Story, to teach the art of flavour matching. Concluding the series, the Hibiki session sees Urasenke Grand Master, Genshitsu Sen, curate a tea ceremony masterclass, centring on hospitality and the guest experience.
Crucially, Dojo is all about practical application, which brings us back to James’s observations on classic cocktails and how the Japanese approach can be subtly applied to them.
“At the beginning of a Japanese bartending apprenticeship,” he explains, “every bartender must choose a classic cocktail as their signature. For instance, Hidetsugu Ueno at Bar High Five in Tokyo is known for a White Lady.” It’s no insignificant decision, as this will be their signature drink for life.
While it may not be quite as definitive, this idea inspired James as a key part of Dojo. Each of the 12 bartenders must also choose their signature. Then, at the end of each of the four days, they must take a learning from that particular masterclass to refine that drink. For instance, aesthetics might mean a change of glassware, while seasoning might result in the addition of something like a dash of soy sauce to the drink.
Importantly the emphasis is on subtle changes, which participants can demonstrate through the Kaizen Classics Challenges – kaizen meaning ‘continual refinement’. At the end of the Dojo programme, three bartenders will be selected via these challenges – two from the Senpai and one from the Academy. But, as James is keen to point out, this is not about presentations or creating completely new drinks; it’s about selecting the three bartenders who have most improved their craft as a result of what they have learnt during the masterclasses. The recognition itself would be considered reward enough, but for these three bartenders it also means a personal invitation to visit The House of Suntory in Japan.
Crucially, the ethos of continual improvement is something that all bartenders around the world will be able to benefit from, as each of the masterclasses will be available to view online, captured in a series of mini documentaries.
And, of course, it’s the guests who ultimately benefit from the bartenders’ continual improvement. It could be in the shape of an even more authentic Japanese experience at one of the participating bartenders’ venues, such as Roka or Sexy Fish. Or simply by being served a classic cocktail that has been subtly changed and made even more pleasing thanks to the inspiration of Dojo, as each bartender continues to master their own way. For more details of The House of Suntory Dojo visit suntorydojo.com Please enjoy House of Suntory products responsibly.
