Macro friendly food near hunter college9/27/2023 ![]() So if you were making a sandwich with the butterbread, 2 slices would give you 120 calories while 2 slices of the gulti grain would give you 240 calories! I’m going with the butterbread!Īnd because of this, I can use 2 slices to make a beautiful French Toast Burger under 30g carbs! So the butterbread reigns supreme here because you could eat 2 slices of that bread for the price of 1 of the multi grain. So most people would think that the multi grain bread would be “healthier” but as you’ve learned reading my material, the real epidemic that is killing our country is excess calorie consumption. Pepperidge Farm Multi-Grain Bread: 120 cals, 22g carbs, 2g fat, 4g protein.Natures Own Butter Bread: 60 calories, 12g carbs, 1g fat, 3g protein.There was this monster called HUNGAA DA GIANT, who was the size of the state of Florida and wanted to eat everyone in sight! Let me tell you a story real life story to help you understand this. Plus, they are digested really quickly because they are mostly sugar and thus will lead to you being hungry very shortly after. Meaning that you do not get much food volume for the amount of calories you are eating. Pop tarts are a very dense source of calories. ![]() Not only did you take a huge chunk of your carbs our before 8am, you were not ravenously hungry an hour later! This is a probably the best example of a non-macro friendly food.īut if you ate 70g carbs, why are you so hungry an hour later? Shouldn’t that amount of calories keep you full? I’m just like: Dude, do it while you can.I want you to think back to when you first started tracking macros and had that epiphany moment when you saw that the smores pop tart you were eating every morning for breakfast had 70g carbs. “At one point before the diagnosis I thought, I’m not going to be such a tight painter, I want to get a little more loose. His art involves “a lot of demand on dexterity,” he said, and knowing that his motor function will decrease has made him double down on the technical parts. “That was my anxiety coming into the work.” “You live forward but you understand backward,” he said. But in hindsight there was a subconscious layer. The artistic logic, he said, was for the hands to hold the sculpted peaches. Payano began casting his hands while still dismissing his symptoms - tremors, back pain, a diminished sense of smell - assuming they might have been caused by working with chemicals. (“That’s one of the nice things about working in China - you find some weird stuff,” he said.) Still, it was hard not to focus on the plaster-cast arms and hands, some mounted into the works in progress. Materials for his semi-sculptural pieces lay in piles in the studio: curtain trimmings, synthetic cotton, an actual snake skin. His flat paintings have a similar fantastical bent, with stylized swirling seascapes or cloud formations in which disembodied legs appear in various skin tones, and trees in which birds perch along with grinning peaches that seem to chatter, even smoke cigarettes. His art is breaking ground: He has perfected what he calls “heavy collages,” three-dimensional paintings that jut out from the wall with sculptural components like plaster-cast hands and cast peaches that have mouths and lips,, to form fanciful portraits of imagined characters. “His practice articulates that there’s a deep-seated relationship between these places.” “His time in China maybe confused some people, but in fact he’s at this interesting cultural intersection of Afro-Caribbean, Latinx, Asian perspectives,” Ossei-Mensah said. He spoke fluent Mandarin, with a Beijing accent.įor the independent curator Larry Ossei-Mensah, who included Payano’s work in exhibitions at Ben Brown Fine Arts in Hong Kong and London, the artist is far from an outlier, but part of a history of global exchange that the New York-centric art world often ignores. Payano moved to China right after college and lived in Beijing continuously for 15 years. Most of all, there was the journey that shaped him. His visual language mixed figuration and grand landscapes with recurring surrealistic motifs. A painter and sculptor interested in hybrids of the two forms, Payano arrived at Hunter with a talent for fine-detailed realism in a recognizably Chinese tradition. ![]() But in the graduate art program at Hunter College, where Payano showed up on his return from China - older than most classmates, with a prior M.F.A., exhibition history and collectors - he stood out. His family had long known he was a wanderer, ever since he went to boarding school at his own insistence at age 11. when, like some kind of prodigal son, he came back to New York in 2016, after making a life in Beijing. ![]() People weren’t quite sure what to make of Miguel Ángel Payano Jr. ![]()
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