Jessica Svendsen

Sketchbook No. 1

Food, Graphic Design

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sketch1 1024x746 Sketchbook No. 1

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These spreads are from my very first sketchbook; it covers my senior year of high school, the summer before college, and part of my initial year at Yale.

The three color photographs were taken by my Grandpa Berrett at a Thanksgiving dinner. The last minute preparations are almost what I enjoy most about the holiday—my father carving the turkey by the sink; my mother busily managing the mashed potatoes, gravy, and the multiple pyrex dishes popping out of the oven; and me, luckily in charge of stirring the caramelized potatoes so that the sugar doesn’t burn (perhaps this task alone instilled within me a fondness for cooking).

Everyone else hovers around the kitchen island, beginning to chatter and waiting to eat. (As you can see from the above picture, my Grandma Berrett’s hand sticks in, trying to help stir the gravy, whilst my mother maintains steady conversation. I, of course, seem to look onto the scene with silence and contemplation.)

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Julia and Pulia

Film, Food

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Picture 35 Julia and Pulia Julia and Pulia

I just finished Julia Child’s memoir, only to discover, so did the rest of the country. The New York Times published yesterday how Mastering the Art of French Cooking is once again a bestseller, almost fifty years after its initial publication. Her memoir, My Life in France, is in its ninth reprinting since the film’s opening. I am part surprised, part repulsed, part unapologetic that I am part of America’s pop culture—the culture that relies on blockbuster films to spark curiosity on a subject.

Potato Pizza

Food

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Picture 82 Potato PizzaEvery time, I am in New York, I always stop at Sullivan Street Bakery (now called Grandaisy Bakery) for their potato pizza. Despite being a trained pizza maker in a hearth oven, I generally dislike pizza. Except potato pizza. Topped with only Yukon potatoes, onion, rosemary, olive oil, and salt, this pizza is a buttery delight. I have tried replicating it in my own oven, but it doesn’t quite match a warm wedge right out of Sullivan’s oven.

I also want to attempt his no-knead bread, but it shall have to wait until I purchase my first le creuset.

Card 31 Potato Pizza

Card 21 Potato Pizza

Their business card also pleases me, by cheerfully reflecting their logo on the backside of the card.

Labour and Wait

Food, Interiors and Furniture

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Picture 81 Labour and Wait Labour and Wait

The philosophy of this London shop, specializing in kitchen and household supplies, has influenced my own purchasing policies ever since I visited last summer. Labour and Wait only sells products that have withstood the test of time: the quality of the material and the functionality of the design make the pots and pans last years, if not a lifetime. While I was there I purchased one of their aprons, a messenger bag (whose squareness always manages to earn complements), a pitcher, peeler, and can opener (plus a few jars and tumblers, which are a sore spot in my kitchen supplies addiction). They all still work splendidly, and as a consequence, I compare any kitchen supply I consider purchasing to the quality of Labour and Wait.

See the splendour for yourself.

 Labour and Wait

Julia and Pulia

Film, Food, Paris

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Picture 3 Julia and Pulia

Picture 1 Julia and Pulia

I have been looking forward to Julie & Julia ever since I first saw the trailer. Then I read both New York Times reviews. The first narrated the artistic trajectory of the most famous female Director (according to Paul, yet I beg to differ), Nora Ephron—noted cineaste of the romantic comedy.  The review describes how Ephron’s films have changed as her own marriages have evolved: the film Heartburn is a semi-autobiographical account of her bitter divorce from the famous Washington Post and Watergate reporter Carl Bernstein; her subsequent films, like When Harry Met Sally, Sleepless in Seattle, or her latest hit, You Got Mail, are about “finding a flame, not learning about how to keep one going.” Yet Julie & Julia is a sharp departure from Ephron’s earlier works: instead of depicting bitter divorce or blossoming love, she celebrates the fulfilled marriage—Pulia being the perfect example. The review reported how critics were surprised to see such a libidinous older couple. Meryl Streep retorted: “I don’t know why everybody is so surprised. I guess people don’t attach sexuality to people who look like their parents.”

I was intrigued by this critical skepticism. As an ardent film researcher, never willing to pay $10.75 to screen a film before at least seeing a trailer, it was A.O. Scott’s review—my favorite film critic—that sealed the deal. I knew that this film would appeal to multiple audiences: the Parisian, the New Yorker, the food aficionado, the blogger. But I was intrigued by Scott’s claim that Julie & Julia is “a Hollywood movie about women, that is not about the desperate pursuit of men.” Instead, it is about two women trying to find meaning and make their lives meaningful. Read more