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"So how do you eat this thing?" Erina pondered, suddenly realizing a very serious problem.
In his pursuit of artistry, Renz had absolutely forgotten the essence of cooking taste.
While molecular gastronomy, in its pursuit of flavor, tends to be quite deviant, a typical specialized cuisine, Renz couldn't create a dish that could only be looked at and not eaten.
And if Renz dared to give this dish to someone else to eat...
Erina had a million ways to make Renz's night living hell, such as teasing him first, then locking him in the bedroom while she went to sleep in another.
Thinking of this, a hint of murderous intent flashed in her eyes.
"Oh, this is just for looking at, you can't eat it," Renz said, bringing out the several failed works from earlier.
They had long since deformed from being left out.
From these 'paints' made by spherifying different ingredients, Renz selected several spheres with unique flavors and processed them again.
It has to be said that Renz was quick to react. In fact, after completing this work, Renz knew that the main portrait could no longer serve as the edible core of the dish; it could only be the soul.
Just look at Renz's hands.
From the original failed works, he took out the spherified 'fruits' that could be disassembled, step by step disassembling the previous plating. Then, he wrapped these external solid, internal liquid crystal spheres, made with molecular gastronomy techniques and having various flavors, with an outer layer of thickened rice paper.
The rice paper had a somewhat translucent feel. With the various colored crystal spheres wrapped inside, Renz exquisitely packaged them into candies.
This is what you call quick thinking.
Renz leaned back in his chair, satisfied.
To be honest, he didn't notice anything wrong at first, but when he saw the expression on Erina's face, Renz suddenly realized a problem.
If this 'portrait' dish were given to others, from Erina's perspective, it would be quite awkward.
Because it carried the deep meaning of a gift from Renz to Erina.
This item could only be given to Erina and no one else.
"My dish is ready," Renz gestured, indicating. This small 'portrait' was hung to the side, while several candies, rice paper-wrapped crystal spheres, were neatly arranged below.
However, this attempt also made Renz realize that the dish he had researched this time relied heavily on the chef's painting skills.
If he had sufficiently excellent painting skills, Renz could create even more artistic works, without any limitations.
If his painting skills were excellent or if he had enough time, Renz could use this framework to create a molecular gastronomy version of "Along the River During the Qingming Festival."
And the moment the mystery was revealed.
Renz's portrait dish, of course, attracted the attention of many. Such a template for a dish had not yet appeared in molecular gastronomy.
Molecular gastronomy places the utmost importance on
plating and appearance, even more so than sushi.
It is generally small and exquisite.
Renz's 'portrait' dish was clearly derived from the artistry of molecular gastronomy, and Erina's portrait added much to the overall artistry.
He indeed painted it beautifully and aesthetically.
Using rice paper as the base for the portrait was also a very creative idea, and most importantly, the difficulty of embellishment.
Rice paper is quite thin and delicate; it can even tear at a touch. Even with an added layer of thickness, it's difficult to create a perfect portrait on it.
Renz's dish, of course, also belonged to a theoretical form of cuisine. Long later, many in the molecular gastronomy world proposed this concept, but it was extremely difficult to implement.
At that time, the molecular gastronomy world had already entered a pathological development, moving irreversibly towards artistic forms.
Many molecular dishes at that time became dishes that could only be looked at, not eaten.
Because they were too perfect in appearance, it was too regrettable to eat them. Renz hadn't understood it then, but when he actually tried it, he gradually came to understand and empathize with this idea.
Renz also didn't want this 'Erina's Smile,' his carefully crafted work, to become just another meal.
"What a remarkable idea," Ferran Adria's eyes showed approval. "A very good innovation."
He very much liked Renz's 'work,' rather than 'dish.'
And in front of Adria, on a plate, lay a simply shaped golden egg.
Next to it were a few ordinary vegetable garnishes.
Adria's dish involved technically deconstructing an egg. The golden sheen on the outside was made from cocoa powder, and there was a cut inside where the yolk had been removed and replaced with mashed potatoes.
Finally, the egg white was re-attached, and the mashed potatoes inside were soft and fluffy.
When cut with a dining knife, the egg yolk-like mashed potatoes would slowly flow out, filling the air with a fragrant aroma.
From an artistic perspective, Renz's work was superior.
In terms of visual appeal, however, the two were quite similar; Adria's dish also looked very beautiful.
Now, it was a battle of taste.
Renz's portrait served only as an ornamental display, his actual dish was in the small candy wrapped in rice paper.
In fact, this candy was not a hastily made creation by Renz, although he did prepare it on the spot.
However, Renz's extensive experience and exquisite technique meant that even with on-the-spot preparation, the standard he achieved was above a certain level.
Just this secret rice paper was different from ordinary rice paper.
This kind of paper is relatively common; many candy wrappers use this layer. The most typical example is the outer layer of White Rabbit Creamy Candy, which is made of rice paper.
This portrait certainly had a strong suppressive force.
Renz couldn't make a dish that matched it, so his score on this dish would be greatly reduced.
However, Renz's knowledge of future techniques and styles, which were several generations ahead, compensated for this.
Senzaemon Nakiri picked up the crystal candy wrapped in the thickened rice paper.
The crystal inside seemed both solid and liquid.
He hadn't expected Renz to make a molecular gastronomy dessert, which was also a relatively rare type.
He put the candy into his mouth.
The rice paper, upon contact with the slightly warm mouth, seemed to melt naturally, dissolving in the mouth. The already slightly sweet rice paper had yet to burst forth with a honey-like sweetness in Senzaemon Nakiri's mouth.
When the crystal honey inside touched the tip of Senzaemon Nakiri's tongue.
He widened his eyes.
Although he knew it was a dessert and had prepared himself, Senzaemon Nakiri didn't particularly like desserts in terms of taste, so he didn't have high hopes for Renz when he ate it.
Until the candy entered his mouth.
Senzaemon Nakiri knew he was wrong.
It tasted like honey, yet not quite like honey.
Because if honey isn't processed properly, it can have a very greasy taste, very, very sweet. Usually, you need to mix it with hot water to alleviate that cloying
sweetness.
It's worth noting that perfectly processed honey has a different sweetness than syrup. It's fragrant and sweet without being cloying, and different types of honey also carry unique floral notes.
And with honey, the less you use, the harder it is to get the balance right.
Inside Renz's candy, there was the sweetness of honey without the greasiness of honey. Most importantly, this sweetness had a terrifyingly long-lasting power in the mouth. Even if the sugary liquid had long since dissolved into nothingness in the mouth, the refreshing sweetness could still be savored.
It had a fervor, an impact; though it was subtle, it held no retreat, like a sweetness that gently seeped into the
heart.
How was this even made?!
I actually have the desire to have another one.
Senzaemon Nakiri's inner voice kept murmuring.
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