Dishing Up the Thyssen

Deconstruction—both a creative method and a style of El Bulli's work—emerged in 1994. It was initially called Decomposition, since it involves breaking down an edible creation—such as a snack, a meal, or a cocktail—and altering its texture and structure, while still preserving the original taste. For this reason, it could be compared to Cubism.

My idea for this dish was inspired by 19th-century American painting and its powerful evocation of nature. The cuisine I try to create has a very strong bond with the natural world: the forests, the smell of the mountains, the rain, etc. It’s all about bringing the flavours of nature straight to the plate, freshness with a capital F, with a minimum of human interference. On my days off I go hiking in the hills, losing myself in the silence, aromas and atmosphere. I don’t encounter another living soul for hours and hours; it’s my moment of freedom and inner peace.

Texture is associated with touch, and playing with it can produce powerful sensations. In this case, the only possible contrast to the gelatinous texture of the oyster is crunchiness. We wanted to emphasise flavour by pairing it with an acidic square biscuit for a satisfyingly crunchy bite. The sharp edges complement and oppose the soft shape of the mollusc.

Basque cuisine is all about product. Since time immemorial, our mothers and grandmothers have scoured the hills, orchards and Cantabrian Sea for inspiration to supply our tables. In the Basque Country, we are fortunate to have a wide variety of local products of superb quality. The moment I saw Jacob Philipp Hackert’s painting "Landscape with the Palace at Caserta and Vesuvius", I felt I had been transported to the hills of the Basque Country, with grazing sheep and the taste of our lamb, and I knew that this was the dish I would choose.

"The Virgin of the Dry Tree" captivated me at first sight with its sensation of texture; I can almost hear the sound of the dry branches cracking, like chocolate brittle, and the interplay of light and shadow reminds me of the gleam of custard, creamy with hidden depths of flavours. 

I was inspired by the avant-garde painter’s investigation into local folk art and culture. He was one of the first to scorn the “correct” way of representing the world and incorporate distorted figures and bright colours. He was also interested in depicting different trades and professions, as he did in The Baker. 

I found the work "Omega 5 (Traps)" very inspiring, because of both the objects depicted in it and the title itself. Inmy obsession with harvesting the sea’s bounty and usingresources no one else wants, some years ago I decided to turn discarded fish into marine sausages. 

I chose "Greenwood Lake" because it’s a painting whose colors completely capture the essence of autumn. And, of course, there are two culinary elements that immediately come to mind when we think of autumn: wild mushrooms and feathered game. 

I chose the Ghirlandaio work because it’s one of my favourites from the Renaissance, which also happens to be one of the most important periods in art history. It is an incredibly beautiful piece that, to me, conveys peace, serenity and tenderness, especially knowing Giovanna’s story. When I was asked to choose a painting, I knew right away which it would be, and the choice of recipe was also clear as soon as I remembered prickly pear soup. 

Pierre-Auguste Renoir's work Woman with a Parasol in a Garden has a strong link to the dish Spring Pickles with a Walnut Romesco, which reflects a colorful, wild-natured palette. It is a demonstration of our work in recognizing the plantlife of the local landscape, as part of our project called Living Earth.