In 1984 I began teaching a short course at UCD called Fundamentals of Wine Chemistry, which continued for 24 years and was one of their most popular courses, attended by everyone from home winemakers to seasoned professionals. In the early ‘90’s, I began to see cracks in the theories I’d been taught at school, and began to focus on French winemaking aesthetics and techniques. I felt I was making really good white wines and terrible reds, and this led me on a journey to rediscover what red wine itself actually is.
Some of my writing addresses what these tools are and their appropriate use, in order to facilitate the openness which exists between winemakers and consumers around more seriously invasive technologies such as electricity and stainless steel. A rethinking of how science can serve our aesthetic work is has given birth to a new view of winemaking, the subject of my book, Postmodern Winemaking.