Food & Travel

On Plate Still Hungry


Carlos Carneiro, Terence Teh, and Kat Popiel by Stephen Rojas

Satisfying our tastebuds is not enough. We want food to tell us stories, inspire us to travel and be adventurous. On Plate Still Hungry is a creative online platform that channels just this – food, drink, travel and culture. Authored by an ever-growing worldwide collective of writers, a catalogue of sensory films and editorial content feeds us the authentic culinary goodness we are all seeking. Founders Kat Popiel, Terence Teh, and Carlos Carneiro share how they began their lifelong dream to spread their love for food and travel, collaborate with the world and what they are doing differently.


NeueHouse: What is On Plate?


Terence Teh: A night of food on film and vivid editorial celebrating creative and cultural food stories.


Kat Popiel: Three friends got together over a shared love for food + travel and a clear passion to make some cool shit together. Our combined ethnic backgrounds include Malaysian, Chinese, Portuguese, Filipino and Polish – add in the fact our shared hometown is London and you have a perfect storm of rich culture.

This is a lifelong project that acts as both our personal creative outlet, for sure,  but really it belongs to everyone in our worlds –  we have a chance everyday to figure out how we can collaborate with the people we love through the lens of On Plate.  In some ways, it’s the ultimate example of a side project – turn it into a business and all those spreadsheets will just break your heart.  By separating church + state to some degree maybe we can make our own version of history.


Carlos Carneiro: For me, On Plate is a food, travel and culture platform



NH: Why is On Plate needed now – what is the void you’re looking to fill within culture?



TT: Literal refreshment and satisfaction.


KP: Everything is thoughtfully packaged and sold these days, especially in internet culture. We want to make people feel moved, by the awesome power of food and travel – really, just feel something.  Both of these movements have injected everything from science to family values to innovation with the creative prowess of the individual and that’s not something that will ever go away. Our crew of friends and family, from filmmakers to dancers to photographers to writers to entrepreneurs are meeting up for dinner and bashing out good ideas over a Negroni and a taco.  I mean, sometimes a taco isn’t just a taco. Moving beyond our editorial, our film series and screenings our ways to get people in a room together with food + films + music in a way that sometimes becomes forgotten. We’re so pressed for time, always, that making people stop to remember their five senses can sometimes be the biggest achievement. It should be as simple as that. If we can do this in Mexico City and LA, Beirut, Manila, you name it, On Plate can hopefully be that connective tissue for a lot of great, talented people everywhere.


CC: I feel there is still space for the stories we want to tell and how we want to tell them. So I guess is the differentiation. What is that difference? How we tell a story, how we frame it, how we share it. Context and package.




NH: Food is one of the mediums that incites the most content around it – photography, art, magazines, movies, etc. Why do you think that is? How is the relationship between food and content forged?



TT: On one level it’s just such a simple and important element of life and culture and family one that is fraught with controversies since the advent of time, it’s an anthropological pillar of the world. Then there’s the absolute craft, technique and creativity that is often misunderstood. It’s an interesting obsession to have an affinity with.


KP: It’s an inherent part of our everyday lives so it’s natural that it’s become a source to converse and converge worlds. It’s just become very formalized – digital has become that vehicle to traverse space and time in a way that decades before never offered us. In some ways it’s an incredibly exciting time as every ingredient and cuisine is attached to deep vats of information, perspectives and knowledge.  You can make a new friend/lover via Instagram over a insane love for ramen. But it can also be exhausting and overwhelming. I mean I can research the Manila Galleon trade between Mexico and the Philippines via journals and blogs for days but nothing beats sitting IRL with a historian over coffee who studies this stuff everyday to talk – that’s really when your mind blows up.


CC: The advent of food came with a revolution. And timing.  So much has changed in the last 10 years. But how we absorb information has also changed so much during the same period. So looking back these two definitely go hand in hand.. And then people love to eat with their eyes.



NH: What is the future of food content? Where is this going, in your opinion?



TT: A level of depth and love for what people are making should be paramount.


KP: There are tons of stories out there that follow a simple formula that ends up diminishing the story itself, just so it can drive engagement and sales online – you know, all those buzz words.  What was the last story you heard that stayed with you? It’s the same with food – when you have a dish or a mouthful that you spend the next few days dreaming about, it’s because it was that damn good. People would rather have one story that drives deep then a whole bunch of nothing. It’s the shiny object syndrome – for every bright light of food storytelling blinding you is the one that makes your myopic zoom in a little closer.


CC: Chef’s Table and so many new documentaries like Birth of Saké are truly  amazing. In publishing, Lucky Peach rules but I also feel there’s a lot more rubbish being made. All over the place. Just because “that chef is cool” or “we should pair this with some food,” etc.  I feel good food content might have peaked but I am motivated that with On Plate we have an opportunity to share captivating stories.

FORM Diaries

Doug Aitken, Alexa Meade, Kathy Garcia,
Sanford Biggers, & Zach Anner


In a day and age where festivals are few and far in between, it’s often a challenge to create a unique and original experience. Cue FORM Arcosanti, a three-day festival held in a small surreal city in Arizona between May 13 – 15th, which amalgamates electronic musical performances with an immersive cultural series presented by NeueHouse, with work from renowned multi-platform artists.


While the magic of the festival is best expressed experientially – a utopic phenomenon which has to be ‘seen to be believed’ – we thought the best way to show what FORM is really like is for those involved to be the ones to show us. Including visual diaries from Doug Aitken, Alexa Meade, Kathy Garcia, Sanford Biggers, and Zach Anner, this is what FORM Arcosanti looked like for those who shaped the event.



IMAGE RIGHT: Doug Aitken at FORM, Photo by Austin Meredith | IMAGE LEFT: Photo by Doug Aitken



“Sarvia with arcosanti and the Mesa behind her. Taking little excursions through the beautiful grounds was a highlight.” — Kathy Garcia



“These are my favorite photos from FORM. Before I painted the model, Josephine Lee did her makeup. My model would like to be anonymous.” — Alexa Meade



“People using the pyramid for chair pose during yoga class. It was nice to see people occupy the pyramid in their own way.” — Kathy Garcia



Photos by Sanford Biggers | IMAGE RIGHT: “We must redefine the American Dream before we can rebuild the infrastructure on which it is based” – Paola Soleri | IMAGE LEFT: Mood


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“At Arcosanti the art and the people are one and the same. Thanks to Alexa and Meade.” – Zach Anner


Éric Ripert

'32 Yolks'

Eric Ripet28257 copy

“You’re not born with craftsmanship. You may have talent, more than some other people, but you have to learn the hard way,” Chef Éric Ripert tells us. We are sitting in the studio of NeueHouse Madison Square, where upstairs an eager crowd gathers with anticipation to see the gastronome, culinary artist, and spiritual philanthropist read from his latest venture, ‘32 Yolks,’ a book that blends the biographical with the culinary. In fact, there is no way to separate the art of food with the life of the Chef, who boasts the three-Michelin-star recipient, Le Bernardin, as just one of his many successful ventures. Ripert, however, does not only take time to perfect his métier, but he also uses his success for benevolent causes, such as hosting the Tibetan Aids Project, and serving as chair for the City’s Harvest Food Council. Ahead of the poignant conversation regarding the life musings shared in the book, Ripert engaged in an intimate conversation with us, touching upon everything from the spirituality of eating to eating brains for intelligence.


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Photography: Manolo Campion for NeueJournal

Continents Pt. II

Two Realities with
Photog Petros Koublis


In the second part of Petros Koublis photo essay, the photographer continues exploring the cohesion of two realities and cultures by creating an amalgamated space that exists in a realm of its own. With imagery that elicits the philosophical anxieties of Lars Von Trier’s Melancholia, as well as the desolate surreality of nature found in Salvador Dalí’s work, Koublis invites life to exist beyond what is predetermined by piecing together a coalescent multiverse where things subsist unbound by rules.



Photography: Petros Koublis for NeueJournal 

Padma Lakshmi

'Love, Loss, and What We Ate'


Padma Lakshmi’s life is certainly something to write about, so it’s fortuitously appropriate that the Indian-born TV host, model, actress, and author has published her first memoir, ‘Love, Loss, and What We Ate.’ The New York Times best-selling book doesn’t shy away from details about Lakshmi’s eventful life, from her childhood and modeling days, to her marriage to Salman Rushdie, and the affair that led to one of the best joy of her life – motherhood. Naturally, the book weaves a motif of food throughout, tying in nicely the idea that life is full of flavors. After an excerpt reading of the memoir at NeueHouse Madison Square, Lakshmi answered some questions for us, touching upon everything from re-focusing insecurities into skills and the happiness of having nothing to do.


NeueJournal: This memoir was difficult for you to write because of its incredibly personal nature. What enabled you to finally write the book?


Padma Lakshmi: It evolved from a book I was commissioned to write on healthy eating. The deeper I went in the subject matter and the more context I gave, the more I realized a narrative arc was taking shape, and that this was becoming more of a memoir, punctuated by food.


NJ: In the book you talk about insecurities of all types and learning to overcome them. Do you think this pressure comes more from an outward place or an inward place? How do you feel women, particularly, can learn to overcome these societal pressures?


PL: That’s a hard question- I suppose it comes technically from both places. You can’t control the images the media feeds you, and at the same time, it’s hard not to internalize ideals that we’re constantly being fed, consciously as well as subliminally. The only way to overcome these types of insecurities as women is to find something more important that defines you. Find a skill, and hone it. Move your energy from focusing on what you don’t have to building upon what you do.


NJ: Looking back, what is the most valuable lesson you’ve learned from your experiences?


PL: That life is cyclical, and nothing lasts forever. Not the good, not the bad, not even the ugly. I’ve also learned that even the difficult times I’ve gone through or the mistakes I’ve made have great value, because they shaped who I am.


NJ: If you could re-live a moment in your life, which would it be and why?


PL: I suppose the only thing I would want to relive is my daughter’s life as a toddler. Or maybe getting on The New York Times best-seller list?


NJ: What do you consider your biggest achievement?


PL: Personally, my child. Professionally, this memoir.


NJ: In your opinion, what is the worst question women in entertainment industries get asked?


PL: How we women ‘manage it all.’ No one ever asks a man how he balances a career with making time for his family.


NJ: What is the last thing you ate? What is the last thing you cooked?


PL: I just ate my way through Paris with my daughter, who herself ate half the macaroons in Paris. And then I promptly returned home and made lentils and rice.


NL: If you could describe your life at the moment with a food dish, which would it be?


PL: A stew of some kind, where everything has been cooking for a while, and I finally feel like the different elements have simmered together into this memoir.


NJ: What do you regard as the lowest depth of misery?


PL: Misery is an empty fridge.


NJ: What does happiness mean to you? When and where are you happiest?


PL: Happiness is a Sunday where I don’t have to be anywhere or do anything, and I am just free to spend the whole day with my daughter, cooking in the kitchen.


Photography: Manolo Campion for NeueJournal 

Paradise Wavering

Alice Q. Hargrave explores
the melancholic side of paradise


Paradise. The word itself elicits a myriad of images and sensations – perfection, bliss, timelessness. However there is also an immediate fragility associated with the word, as the human experience has proven throughout history that paradise doesn’t exist, or otherwise it is a fleeting myth, come and gone before one can even understand what it meant. Alice Q. Hargrave’s photo book, ‘Paradise Wavering,’ which will be released in May, 2016, explores the melancholy side of paradise and the perils of a future pervaded by environmental catastrophes, amalgamating newly captured work with re-photographed vintage images, colored and printed in the attempt to create a space and time that, like paradise, does not exist in an actual reality.


Glacier from ‘Paradise Wavering’


Shade from ‘Paradise Wavering’


Cattails from ‘Paradise Wavering’


Lichen from ‘Paradise Wavering’



Photography: Alice Q. Hargrave’s ‘Paradise Wavering,’ published by Daylight Books


Feature Image: LEFT: Coupled Palms (1982/2015) | RIGHT: Spray  

Continents, Pt. I

Two Become One with
Photog Petros Koublis


A basic principle of the surrealist movement of the early 20th century relied on the exploration of the subconscious as inspired by dreams. So what happens when these dream-like settings don’t live in the subconscious, but in a physical and accessible reality? For photographer Petros Koublis, “the approach of the landscape gradually unfolded through the narrative of…different layers,” converting it into “one, solid impression.”


Through exploring the duality of calling both New York and Athens home, Koublis amalgamated images from Capers Island, South Carolina, and Marathon, Greece to create a unique environment, that, while based off of real places, becomes mythical through their mergence – a coalescence of a Dalí painting and the setting for the birth of theatre through Dionysus. “I used these references in order to create an imaginary place where the two different places coexist, the same way that the two continents, America and Europe, coexist in my own life,” Koublis told us. “It’s a landscape that although is divided by 5.500 miles of ocean, through this sequence becomes one.”







Photography: Petros Koublis for NeueJournal

Prosaic Proximity

Kimmo Metsäranta's Helsinki


Having a routine we abide by means we become used to seeing the same places and same faces daily. Because of the proximity we have with these habits, sometimes we fail to see things with different eyes or through a different perspective – and in a way the magic of these things becomes neglected, unless you make an active decision to see things through a different lens. For photographer Kimmo Metsäranta, his lens paved the way to see the 500 yard environment surrounding his apartment in Helsinki, Finland with a different mindset. “The spots are mundane views I notice every time I pass them, [which] I have reduced into formalist abstractions,” the photographer tells us, proving that the possibility of art lives even in the most prosaic of places.


Kimmo Metsäranta_NeueJournal



Photography: Kimmo Metsäranta, Notes on a Place Pt. II for NeueJournal

Natural Elements

Gastronomical styling with
Laila Gohar & Chaunté Vaughn


Laila Gohar, who moved from Cairo, Egypt to various cities in the U.S. before adopting New York City as her home, began cooking for friends, which quickly evolved into cooking for larger occasions. However, the gastronome wouldn’t call herself a chef, and in reality it’s a title that wouldn’t particularly fit, as Gohar uses food as an artistic – and edible – medium to build architectural creations and installations. In a collaboration with us and photographer Chaunté Vaughn, Laila styled comestible creations meant to represent the natural elements: air, water, fire, and earth.




Photography: Chaunté Vaughn for NeueJournal 

Special thanks to ROOT Studios


A Journey Into Sound:
The Integratron

An Unassuming Road


This is a story about a man who lived under a giant rock and was visited by aliens: eccentric visionary George Van Tassel. As legend goes, Van Tassel was paid a visit one night by a Venusian, who telepathically communicated a plan—instructions to build a machine that could time travel, defy gravity, and extend human life. The Integratron is Van Tassel’s realization of those plans, a blinding white beacon located off of an unassuming road in the Mojave desert. With a circular foundation and domed-roof, the structure sits atop powerful geomagnetic forces that Van Tassel believed the building’s specific geometry could channel, and ultimately, use to amplify the earth’s magnetic field. It was designed to be “an electrostatic generator for the purpose of rejuvenation and time travel,” according to the Integratron’s website.


Van Tassel died in 1978, and in recent years his peculiar apparatus has become an unexpected destination. In 2000, three sisters bought the Integratron and have since opened it to the public for the first time, transforming Van Tassel’s mystic construction into a venue of rejuvenation and spirituality—not so very far from its original intention. The Sound Bath they offer is a metaphysical sonic experience that utilizes the structure’s unique architecture and interior acoustics—its mythic geographic magnetic location, a vaulted wooden ceiling—to optimal potential. A sequence of quartz crystal singing bowls —”each one keyed to the energy centers or chakras of the body”—resonates and reverberates within the space, creating a sensation of suspended time, as the awesome sounds wash over and drown out all other noises, both in your own mind and outside it.








Photography: Brendan Burdzinski for NeueJournal (Burdzinski’s Polaroids document a surreal journey through the desert to the Integratron. These Polaroids are for Edward.)