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Life in a slow place that quickly steals your heart.

Month

January 2018

Butterscotch whiskey tarts

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There is a hint of nostalgia that comes as you eat these tarts. It’s from your mum’s instant jello pudding days. But these beauties made with cream, milk, fresh farm eggs, bourbon vanilla bean and whiskey are very much a cut above.

You’ll notice that I add a splash of whiskey, (not scotch but rye in this case) but the tart’s pudding filling is not likely named after ‘scotch’. One theory is that the name ‘butterscotch’ is a derivation of ‘butter-scorched’. Others say it that it meant ‘scotching’ or cutting, which they did to slabs of buttery, creamy caramels when making candy.

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Ingredients

(18 tarts)

  • 6 farm-fresh egg yolks
  • 3/4 cup granulated sugar
  • 1/4 cup heavy cream
  • 1/2 cup firmly packed dark brown sugar
  • 1/3 cup cornstarch, sifted
  • 1 teaspoon salt
  • 3 cups whole milk
  • 1 vanilla bean
  • 1 tablespoon unsalted butter
  • 2 tablespoons whiskey (some dad nostalgia here too…he used to rub whiskey on my teething gums and have a dram himself)
  • 3 Flake bars for decoration
  • 18 frozen tart shells (I usually make my own pastry but elected to go the easy route…if you are feeling ambitious homemade pastry shells will make the tarts even more delicious. An oat wheat pie crust would be even nicer…)

 Directions

Bake the tart shells following package directions.

Put the egg yolks in a large heatproof bowl and set aside.

In a small saucepan, combine the granulated sugar with a 1/4 cup of water and stir gently with a spatula being careful not to splash the sides of the pan. Cook over medium heat until the sugar is dissolved, then increase the heat to medium-high and cook until the mixture begins to turn a dark amber colour. Swirl the pan but do not stir. Remove from the heat, let stand one minute then stir in the cream. Pour the caramel into a small bowl and set aside.

In another saucepan, combine the brown sugar, cornstarch and salt. Stir in the milk and whisk to combine.

Cut the vanilla bean in half lengthwise and scrape the seeds into the saucepan with the milk and toss in the vanilla bean into the milk as well. Cook over medium-high heat, whisking occasionally, until the mixture comes to a boil. Remove from the heat and add the caramel. Whisk together until combined, then pour a third of the mixture over the eggs. Keep whisking the eggs and add another third of the hot milk mixture. Transfer the egg mixture back to the saucepan with the milk mixture and whisking constantly, bring to a boil over medium-high heat. Boil for 2 to 3 minutes, or until very thick.

Remove from the heat and add the butter and whiskey.

Keep whisking for about a minute to cool the pudding slightly. Let sit for about 15 minutes, then remove the vanilla bean.

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Here there are with some other boozy homemade pals. The lemon tarts are topped with amaretto meringue and the chocolate ganache are have a splash of Legend Manitou.

Some assembly required

Whisk the pudding one more time until smooth. Divide the pudding equally among the baked tart shells and sprinkle with some crumbled Flake bar. Cover the tarts and refrigerate for about two hours before serving. Store any leftovers, tightly covered, in the fridge for up to two days.

 

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Naramata artist captures the whispering of our landscape

 

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GATHERING Dennis Evans, Acrylic on Canvas, 36″ x 48″ x 3″ (Note, photography (lighting) are not doing full justice to his work)

Noted Naramata artist Dennis Evans unveiled his latest work at an exhibition entitled Messengers last evening. Hauntingly beautiful, Evans has captured the unique resonance of Naramata in these 14 major works.

“When the iconic jazz saxophonist and composer, John Coltrane, visited Nagasaki, his guide found him on the train playing a flute,” Evans says. “The man asked Coltrane, ‘why are you playing the flute?’ He answered, ‘I’m trying to find the sound of Nagasaki.”

Evans has found the sound of Naramata and its sacred resonance in this body of work. Anchored by his Celtic ancestry, the artist has imbedded Celtic images into his landscape paintings.

“It’s my way of  communicating a special resonance with the land and communicating this connection to the viewer,” he says. “It’s an invitation to the viewer to meditate on the universal bond between nature and humanity and what we define as our sense of place.”

 

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SUNSET OVER GIANT’S HEAD, Dennis Evans, Acrylic on canvas, 24″ x 48″ x 3″

The Celtic symbol appears in sharp focus in some works or it subtly emerges or recedes into the landscape in others. The symbols connect with the sky, the earth and everything in between. Evans says the image is intended to highlight the non-physical aspect of the landscape or the landscape whispering to the painter.

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Dennis Evans introducing his show at Leir House in Penticton with my favourite painting in the exhibition, Sacred Grove, in the background.

Messengers is Evans’ second instalment in his quest to capture, visually, the unique resonance of a particular place. It follows on from Songs in the Landscape which also exhibited at Leir House in the fall of 2016.

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SOLSTICE: SPIRIT OF WINTER, Acrylic on Canvas, 36: x 48″ x 3″
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The exhibition also contained a small sampling of new works, including this stunning painting of clouds over Giant’s Head.

A life-long artist, Dennis has the good fortune or as he would interpret it, fate, to end up in a place that speaks to him. Having moved from Calgary to Naramata a decade ago, he says,” I am much more connected to the landscape here. Pretty much all my landscapes are within walking distance of the studio. I have enough inspiration in Naramata to last a lifetime.”

What’s special about Naramata? “We didn’t really know how amazing it really is until we landed here,” says Dennis. “It has an aura about it. I don’t know if it is because it’s isolated being at the end of the road as it is. It was also special to the First Nations people. They didn’t live here but came to the area for their ceremonies. It’s also home to a proportionally large number of artists, which must be for a reason, and home to an incredible concentration of unique individuals.”

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Music throughout the opening evening was played by Don and Debbie who took us on a journey through their interpretations of Evans’ work, including EQUINOX: SPIRIT OF SPRING, which is hung behind the musicians.
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Lucky guests of the opening left with a catalogue and a mug potted by Evans. The mug was filled with Meadow Vista (Kelowna) Cloud Horse mead, made by fermenting BC honey. Born in Viking, Alberta, Dennis began his art career at the Alberta College of Art (now the Alberta College of Art and Design) in the 1960s and graduated with a major in pottery and ceramics, a first love which he still practices.
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Evans and ROCK SPIRIT, Acrylic on canvas, 36″ x 48″ x 3″
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Detail of Evan’s signature
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One of the smaller works which caught my eye.
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RESONANCE: Self portrait, Acrylic on canvas, 36″ x 48″ x 3″

Messengers will be exhibited at Leir House in Penticton until February 16th and most of the works are for sale.

Evans’ wife Patricia Evans read some of her poetry at the opening including this piece which perfectly suited the ambiance created by the art, music, hospitality and the warmth of the historic Leir House:

Unravel the sunset.

Watch its colours rain down, 

holding close, the sacred.

Spirits from the land call to the sun.

We, descendants of the stars, 

need hearing aids.

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