Today ... with my beautiful award for being that New Zealand competitor.
And my truly incredible friends.
Without Davide, Alessandra, and Federico, my weekend would have been something else.
Grazie mille to those who taught me a recipe that only had a little too much salt when it mattered. I am now completely committed to Pesto Genovese made with a mortar and pestle.
Here I am, almost overwhelmed by the joy I feel on returning to Genova.
The photograph possibly captures some of that ... mmmhmm, and in my hands ... that's the bowl of pesto I learned how to make last night.
The journey here was a story in itself but once I arrived in Genova, life became so very busy and full of good people.
I caught up with Davide, Alessandra, Federico and Isabella, at Villa Migone ... that exquisite 15th century house here in the city. I had my pesto lesson out on the balcony, 17 celsius, generous people and beautiful food.
We ate at the grand dining table, and the pesto ... truly superb. 'John Lennon' played 'Let it be' and it went home with that in my head.
There is so many more stories but I need to return and compete soon. I have the recipe firmly fixed in my mind, I hope. I have learned about the soul of garlic, I have learned quantities, and how to beat and grind those ingredients into the sublime sauce known as Genovese Pesto.
I have met old friends, made new friends and, as always, Genova city has made me feel like I have come home ... to the home of a favourite family member, a best friend. It's a city that, for me, seems like a powerful entity in its own right. A city I'm so glad I am coming to know.
And the scent of Paola's apartment wrapped itself around me when I arrived, the streets smelt of favourite things, like good coffee and pizza, focaccia and all kinds of other scents that I've missed.
And last night I fell into bed, hands covered in the perfume that is basil and garlic.
It was a good day. Wish me well. I'm competing, with 100 others from around the world ... in one hour.
I had the good fortune to meet, interview and photograph Roberto Panizza, the man who has the world excited about making pesto by hand. Here, I caught him in a rare quiet moment, at Il Genovese, the restaurant he and his brother own, in the city of Genova. I cannot say enough good things about the restaurant ... the menu, the quality of the ingredients, and the friendliness of the staff there. All are superb.
But Il Genovese is only one of many projects Roberto works on ... more on that in another post.
This weekend, I get to catch up with the man, as I fly in to take part in the 6th Pesto World Championship, hoping to be that New Zealander who makes a good pesto. While there, I plan to gather as many stories and photographs, as is possible while competing.
This event is an event that grows larger each time it is held ... a sign, I think, that the world is so very definitely embracing a return to the authentic ... in this case, to the old-fashioned way of making pesto while incorporating a recognition of the growing importance of good ingredients.
Their website tells the story of how it all began ...
I love the idea that it was created in the 90's, by group of friends who had a passion for gastronomy and for the art of being a bon vivant.
They came up with the idea of organising a World Championship for Genoese Pesto, using the mortar ... Made with a Mortar, Campionato Mondiale di Pesto Genovese al Mortaio and the championship has gone on to become this huge international event that showcases Ligurian excellence. But more than that, it has become a way of introducing the world to this ancient city, with its fascinating and complex history, loved by the likes of Charles Dickens, and so many other, including this Kiwi.
The association also promotes the culture of cultivating good traditions that start in infancy. It has a non-competitive contest for children, the Campionato dei Bambini, and offers other events dedicated to the little ones during the Rolli Days.
The official recipe is here, on the website but the ingredients ...
MORTAR-MADE PESTO SAUCE RECIPE
FOR THE WORLD CUP
I needed a portrait shot for a testimonial I was giving to Business Coach, Tara Lutman Agacayak. The photograph was to appear in her newsletter.
Miss 11 decided she would take up the dual challenge that is the weight of my camera gear and getting me to relax ... in front of the camera.
And so ... this is me lately. Forgive me the selfies but I am losing weight and getting strong. It's almost as if I need a visual record of this time of huge change:-)
In lovely news, the best news I've had in months... I was recently invited to participate in the World Pesto Championships, in Genova, Italy.
I will be the first-ever New Zealand representative and, one of 100 competitors from around the world, competing to make pesto ... the old-fashioned way.
Our task will be to prepare Genoese Pesto, using locally sourced, high-quality ingredients and yes, a traditional marble mortar and wooden pestle.
We will be judged by a jury composed of 30 experts ... restaurateurs, chefs and professional testers and they will then select 10 finalists in this year's search for a world pesto champion.
Am I nervous?
Mmmm, a little but honestly, the sheer joy I feel about returning to Genova is so much more and all nervousness disappears. I have been continuing with my daily life but fighting to contain that bubble of joy that wells up when I think, 'Genova! Soon!!'
The city, in that low-key yet always superb style I've come to associate with Genova, is opening its doors and you can read about other events here.
There will be news from me. There will be blog posts. There will be photographs too ... perhaps an avalanche either while I am there or in the days afterwards. Although I find myself returning to my massive photo library titled GENOVA, again and again and may blog during these days before flying.
I'm there, in 6-days and really, I can't wait!!
The image above, those are the hands of Roberto Panizza, the king of this pesto kingdom ... demonstrating his skills for one of my photography workshop groups. He's the loveliest man, that pesto man. It will be good to see him again!
Ciao from the Kiwi, so absolutely ready to represent New Zealand in Italy.
Hei Matau is a jade carving in the shape of a highly stylised fish hook typical of the Māori people of New Zealand. They represent strength, good luck and safe travel across water.
Back in December, 2010, I went home to New Zealand after 8 years away. It was superb. I had stayed away too long but the value of that, if there is a value, was that I knew what I wanted to do and see, and what I wanted to take back to Europe with me.
I wanted something from the land that I love. I wanted some New Zealand greenstone to wear next to my skin when I was far from home.
I researched jade designers and outlets online, and later I was so thankful I followed that impulse because it turns out that not all jade for sale in New Zealand is NZ jade. Some is imported from China.
I found Jayme Anderson's work and just knew that he was the designer I would like to buy from.
My jade necklace is Marsden jade, a place not far from the Hokitika I loved as a teenager. But afterwards there were some things I wanted to ask Jayme about contemporary jade design.
He very kindly agreed to answer my questions:
Jade is a magical material that somehow draws you in and doesn’t let you go. Way back when I was studying art and design, I had the opportunity to work with different materials like wood, granite and steel but I was particularly attracted to jade and silver … to the combination of the two materials. These days, it's the variation of colours, the translucency, and the thrill of pushing the jade to its limit that really interests me and keeps me motivated.
To be honest, my Maori heritage didn't influence me while I was studying. I was interested in looking at Maori art but never inspired to create wholly Maori art. Then, while studying at EIT, I found a book published in 1973 by Theo Schoon. The title was 'Jade Country', and it referenced generations of influential jade carvers.
At that time it was so unusual that I felt we were at the beginning of the contemporary jade carving revolution. It wasn’t until 2003, when I began work at the Jade Factory in Rotorua, that I started to experience an increasing interest in Maori design - probably related to the fact that it dictates the New Zealand market to a strong degree.
That's not to say I don’t have the utmost respect for working with the stone, and I do believe it has spiritual properties.
It turns out that I actually have a few artistic relations. Arnold Wilson was known for his contemporary wood carving and still has permanent work on display in the TePapa Museum. Para Matchett, who is most well-known for his Wellington Waterfront art designs, and then there's the next generation of Machett artist – Gina is a woman who has already exhibited her own contemporary take on Maori art.
Sadly Arnold passed away in 2012 but he was a gifted and well-respected Maori Artist who, among other things, played an important role in the first exhibition of contemporary art by Maori Artists.
I also like Celtic design, perhaps because they are difficult to perfect. I enjoy the challenge. I have always been keen on the carvers from the 70’s and, in fact, their creations make up the bulk of my private collection.
I like the designs most especially because they were different to the norm. There were the mass productions, made and sold in the souvenir shops around that time. It was seeing some of the work being touted by the likes of Bill Mathieson Senior, John Edgar, Russell Beck that inspired me, and I continue to be inspired by artists like Donn Salt and Neil Brown, and I need to mention Charlie Wilson's Tiki's.
I prefer to call the stone Pounamu or Jade. I have this feeling that Greenstone doesn’t relay the importance or give the stone the respect it deserves.
I work with Marsden Jade. It's the reason I have a 10-acre lifestyle block in the heart of Marsden. And yes, I always recognize my own work. I think it surprises people when they realise that most carvers can not only tell where the stone is from but often the style of carver that designed it.
As for designing ... I might be working on a stone to create a toki but then realize it’s more suitable to as a hook. Or I can see a slice of Jade and instantly know it will make a beautiful twist design.
The availability of gold and silver at EIT allowed me to incorporate it into my designs however since moving to the South Island, and lacking access to friend's silversmithing workshop, my pieces incorporating silver and gold are currently limited.
I prefer using a three plait made from braided nylon for my cords. This creates a strong and durable cord worthy of my carvings. I couldn't keep up with the cord demand so I contract it out to a local in Tauranga and they plait my cords for me. It means that the cords aren’t as cheap as I could find them overseas but I like to keep things kiwi when I can.
I haven’t taken my carving off for 5 years, at least, and the cord is still fine.
I moved to Hokitika because, at the time, it seemed attractive for a number of reasons. I had a long-term relationship break up and was working part-time for my dad. The thought of starting over seemed like a good one. The West Coast of the South Island seemed a good option because it's a Jade source. The cost of living in the area was attractive and there are a number of very creative people in the region. Of course the landscape of rugged mountains running down to the ocean is always going to be more attractive to me than city skyscrapers
I don’t have a large online presence. I get a little bit disheartened by copy cats in the carving world. I can create something unique and technically beautiful and within a month or two I will see the same carving being made by production carvers but without the same finish and quality. It is humbling that people appreciate the designs enough to copy them but it’s discouraging when these designs are made from non-New Zealand stone or with a lesser finish.
Since obtaining a share in the Hokitika Craft Gallery I’ve been able to limit my wholesaling to select galleries and shops. I’m sure I could make a more profitable living by selling online and pushing my carvings but the lifestyle and the ability to control the quality is more important at this time.
I create 600 – 800 pieces a year. I don’t consider myself a production carver, as in someone of who can put out 1000-1500 pieces a year. My work is specific and technical and I am much happier to be known for high quality, unique work as opposed to copying another carver's designs and rushing to finish them. I like the control I have over who retails my work even if it appears I lose some of the market
I have a closer relationship with the land than I really want, when I first bought the land it was just an overgrown gorse paddock with some native bush thrown in for good measure. Over the years it’s been a big change as I've moved from simply mowing lawns to actually reclaiming land to make it habitable.
I’m not sure how much inspiration the land gives me, but I enjoy the physical side of it and am not sure I would be too keen to live too close to neighbors any more. My partner is a photographer and before she moved to the coast she was far less interested in landscape photography than what she is now, so yes ... I guess the landscape does play a big part in our lives.