Most chefs would describe themselves as artists. The art of gastronomy requires a deft hand and a brave heart. Magic morsels created with flare, passion and precision see the light of day for mere seconds before they are dissected, demolished and digested. In a sense the chef and the artist share similar goals, but can their creations work successfully together? In a commercial sense, restaurant art must be weighed up as cost versus the space provided, with the return being repeat business. If this is to be accomplished, then restaurant art needs to be more than simply decoration.

Enter retired neurologist Paul Satchell. In recent times Satchell has become a sculptor - a world far removed from the inner-workings of the nervous system. In just a few short years Satchell has maintained regular lease arrangements for his 'moving sculptures' with numerous restaurants throughout Sydney. He speaks of a 'post prandial state' that our bodies pass into once the eating process begins that effects the way we experience our surroundings. "Prandial" comes from the Latin "prandium" meaning "a late lunch". It is in this post prandial period that the mechanics of the body begin the slow rhythmic inwards and outwards movements of digestion. Sound a little hard to swallow? Well, Satchell believes this slow rhythmic motion should be emulated in art within the dining room. This can be achieved in numerous ways - slow moving sculptures, calm flowing paintings, even soft gentle landscapes.The inference is that when we start to consume we transcend to a different state, our body almost shuts out any outside interferences. We delve into a barely communicative state of inward revelation of the senses and sensations. The theory goes that in this state of preoccupied self-absorption the initial 'wow' factor of the 'decorative art' is almost totally lost. But what if art can interfere with the postprandial? Satchell's sculptures, with their slow rhythmic movements, aim to complement the digestion processes. Sculptures to adorn Sydney restaurants include Digestions (originally named the Sphincter of od), Forking and Can't quite put my finger on it.

Can art alter the internal state of diners? To get a better picture of the impact of artwork featured in the dining rooms across the nation, let us start in Melbourne'soldest dining room - Grossi Florentino.Originally named The Florentino, the then owner, Rinaldo Massoini, commissioned Napier Waller between 1930 and1932 to paint a series of works that appear in the restaurant's Mural Room. An interesting fact is the paintings have been signed by four of Waller's students.What role Waller had in the actual painting of these panels no-one knows. However, the panel of Lorenzo de Medici riding a horse through Florence is attributed as his work. Nevertheless, the artwork has stood the test of time explains Melissa Grossi, of Grossi Florentino." The artwork in our upstairs fine dining rooms has not changed in perhaps the last 30 years and not for the past 70 years in the Mural Room specifically." The nine commissioned paintings that hang in the Mural Room depict scenes from Renaissance Florence. Restaurant founder Massoni wanted to recreate for his clients the joyous and festive nature of his hometown at its cultural peak. The paintings feature famous artists, architects and buildings that are still admired today, including Michelangelo, Brunelleschi and Da Vinci. "While the colours of the walls may change and kitchens get updated I think the customers still feel in awe of the size and the nature of the paintings here", reflects Grossi. She has no delusions about the important role the artwork plays at the restaurant. "Slightly muted shades with figures in period costumes and the rolling hills of Tuscany combined with the long shape of the room and the wood panelling, one could almost imagine being in a Tuscan Palazzo and that I think was the intended effect."

In an attempt to introduce some history and nostalgia to his restaurant, George Pompei of Pompei's at Bondi Beach recently acquired art based on the works of Augusto Lorenzini. "We sourced our work from the Historic Houses Trust of New South Wales who kindly allowed us to display the artwork," says Pompei. Lorenzini was an Italian decorator/artist in Victorian Sydney and very little of his work remains."Most of Lorenzini's work has been lost, destroyed or painted over so we consider it a great opportunity to introduce our diners to this little known artist/decorator. And being Italian, I feel he has particular relevance. Our food is traditional Italian and we feel Lorenzini's work reinforces this." The notion that 'art' should embody the values or heritage of the restaurant seems to be a common theme amongst restaurateurs, journeying beyond 'decoration'. In Daylesford, Victoria, at the world-renowned Lake House owned by gastronome Alla Wolf-Tasker and artist husband AllanWolf-Tasker, local artists are showcased throughout the property. "There are my husband Allan's paintings of course, but you will also come across Glen Mack and Don Wreford's beautiful glass pieces and a wonderful Cockatoo Chair made by sculptor Miriam Porter," says Alla Lawrence. Winder's bronze nudes also appear in the gardens. Much of the work is on permanent exhibition, while others arrive on loan from artists looking for exposure. At the Lake House they use what Alla refers to as a "team approval" process to select the artwork. The region is known for its many highly regarded artisans, artists, writers and musicians. She believes it is important that the restaurant represents the cultural richness of its environs. Added to this are Allan's large canvases depicting images from the hospitality industry - many of which have been purchased by other restaurateurs for their establishments. Alla confirms what many restaurateurs feel about 'art' in restaurants. "Art needs to be relevant or integral to the place in someway - either the art is a predetermined part of the design or in some way the pieces of art relate to the restaurant and its philosophy."

Lucio's restaurant, set in a corner terrace of leafy Paddington in Sydney, is perhaps Australia's most renowned 'art'restaurant. In 1999 owner Lucio Galletto published The Art of Food at Lucio's, which has since sold out three re-prints. The walls of Lucio's feature many leading contemporary Australian artists. "Over the years we have built an extensive collection of artists through the friendships that I have with them," says Galletto. These include John Olsen, John Coburn, Tim Storrier, Michael Johnson, John Beard, Fred Cress, Salvatore Zofrea, Martin Sharp, Gary Shead, Charles Blackman, Colin Lancely, Ken Johnson, Robert Juniper, David Larwill - and some younger ones such as Jason Benjamin and Luke Sciberras. Galletto professes it all started back in 1984 when he framed a scribble on the menu book by Sidney Nolan. So moved was Nolan that he presented Lucio with a painting. Since then another piece has passed into restaurant art folklore - John Olsen's doodle titled The day Lucio became an Australian which depicts a creature half Lucio, half kangaroo. For Lucio it is not so much about the philosophy of the restaurant, but more a reflection of his passion for art. "Food and art for me is like the air that I breathe," says Galletto. "I grew up in the family restaurant in Italy where we had an art gallery, so it has always been in my blood. So it is very important for me personally and also I think for our customers as well. "The combination of great food, great service and great art on the walls is, in my view, one of the best dining experiences you can imagine."

Restaurateur Tony Bilson is another believer. He regards himself as a part of the arts community, having featured many Australian artists during his rich 40 year career as one of Australia's most influential chefs. "I would never class myself s a collector, my self image is not so much as a collector but as a fellow artist," says Bilson. He sources most of his artwork through Artbank, but being so involved in the arts community, he often finds pieces of interest in his travels. "I see paintings in a gallery or a friend's studio and some are given to me as a gift. Some are suitable for a restaurant and others aren't. "Artbank is a fantastic resource, I have used it a lotover the years."

The Dick Watkins and John Anderson pieces in Bilson's dining room are both through Artbank. "The reason I love that Anderson piece is that I used to live at Elthom (outside Melbourne). It's the sort of painting that looks like Elthom in the 1930s, but put in a contemporarycontext with the falcon. It's just one of those paintings that grows on you and I am very loathed to pass it on," he says. The selection process for Bilson combines his taste with a sense of viability in a restaurant setting. "Sometimes I am wrong and the art just doesn't work in the restaurant, but I think that's OK. I'm not trying to present an image of the restaurant with the art. It's more a case of images that I find interesting, rather than as a marketing tool. "But I guess if you analyse it, if it was a marketing tool, the artwork represents, in an obvious and subliminal way, my values."

One of the main features in the dining room is the paper chandeliers designed by Inge Maar. The papers are replaceable allowing Bilson to create just about any ambience in the room. "On one occasion we used photos from the Sydney Morning Herald, which were printed on this thin semitransparent paper. We did that because this used to be the Fairfax building. So we incorporated the photos from the 1930s into the restaurant context."

The current design reflects Bilson's excitement over the rise of cottage truffle farms in Australia. Then there is the striking birthday card by John Walker (for Bilson's 60th birthday) that adorns the north wall of the restaurant. "It's a sort of narrative. It's a great juxtaposition for the room with a raunchy nude saying happy birthday and ripping her bra off. Ha, ha. It's just fantastic." "He also did the one for the Archibald," adds Bilson. The painting, Portrait of Tony Bilson, which stands at the entrance, came excruciatingly close to claiming the prize but was pipped at the post by the portrait of John Bell. Bilson's dining room boasts a rich tapestry of different works, but getting it right isn't that easy. Bilson believes a lot of restaurateurs get it wrong. "Yes they do (get it wrong), because a lot of the time they are using commercial crap rather than something original. Most good people like Lucio Galletto understand how art can make an impact in a restaurant. "Damien Pignolet has that wonderful black and white mural by Michael Fitzjames (aAR 09), and Michael's artwork has been part of the branding of Bistro Moncur. Our Fitzjames here are completely different to Damien's. "Essentially, I think it states where a restaurant sits from a social point of view." This notion is reflected in Shannon Bennett's three-hatted Vue de Monde in Melbourne, which has been the benchmark for good eating in the Victorian capital for a number of years. Bennett has worked extensively to ensure the dining room represents and maintains this benchmark through a range of largely Australian artists. "We view art as an important investment for the restaurant and as a significant factor in the ambience of the dining experience," says Bennett.Vue de Monde works in conjunction with the Anna Schwartz Gallery in Flinders Lane, Melbourne sourcing works from artists such as Dale Frank, Jenny Watson, Daniel von Sturmer, Tom Samek, Stieg Persson, Emily Floyd, Christine Borland and John Young. Bennett says the role of the artwork is to complement the 'art' created in the kitchen. "Aesthetically, artwork is vital in creating warmth and atmosphere in the dining room," he says. "We believe that other elements of the dining experience are forms of art - from the food on the plate and the plates themselves and the floral arrangements on the tables, to the beautiful glassware and decanters and our restaurant business cards."We strive to provide an experience that is a 'feast for all the senses' and the visual component of this is the starting point. Our show plates were individually crafted by Tasmanian artist Tom Samek and we are currently working with Anna Schwartz to create another range of these working with a local artist."

Andrew Gunn, owner of Melbourne's Pearl Restaurant and Bar, believes the artwork is a complete reflection of  "who we are and what we are about as a restaurant". Currently Pearl has an installation of three pieces by David Band, who produced the series specifically for the main restaurant wall."We also have an original '50s John Percival etching entitled The Tea Party which is both beautiful and fun, and finally a '60s photo of a very young Mick Jagger, taken in Melbourne on the Stones' first tour here by Melbourne photographer John Gollings," says Gunn. He appropriates pieces from his personal collection, commissions pieces in collaboration with artists whose work he likes, or purchases at auction specific pieces that "just demand to be hung in the restaurant." The John Percival etching was purchased this way. Gunn concludes, "the take on art is no different to the take on food and wine. It's individual, considered and very personal.We hope that most of the diners get it along with every thing we do, but know that some won't." There is little doubt that when it comes to art in restaurants the values of the chef or restaurateur are a big driving force behind the selection of artwork. A serious restaurateur is after alot more than decoration and aims to acquire art that enhances the whole experience. But are there boundaries or guidelines when it comes to restaurant art? Hmm, artistic licence versus commercial viability - it's definitely something to chew over.

www.artbank.gov.au
www.annaschwartzgallery.com
www.bilsons.com.au
www.grossiflorentino.com
www.lakehouse.com.au
www.lucios.com.au
www.pearlrestaurant.com.au
www.vuedemonde.com.au

Image: Allan Wolf-Tasker, Our Place, 2006, in the main dining room at the Lake House. Courtesy Lake House by Alla Wolf-Tasker, Hardie Grant Books.