Your guide to the heart of Litchfield County:
Discover local stories, hidden gems, and must-know events.

Have a hankering for pizza? An old favorite returns to Woodbury after an eight-year hiatus. Al’s Best Pizza brings back their popular pizzas, pasta, and subs. by veronica day

It’s been years since the only pizza place in the area closed its doors leaving us to drive long distances to pick up a pie for dinner, but now our luck has changed. Al’s Best Pizza just opened in Woodbury on March 16th. Al Selmani, the owner and namesake, who has been making pizza for over 40 years, has decided to get back in the business after an 8-year break. (He used to own San Remo’s.) Run by Al and his two sons, Beck and Ferzi, Al’s Best Pizza is situated in the new complex where the Woodbury Flea Market used to be on Route 6, a few doors down from Dottie’s Diner.

Already, they have seen a steady stream of former customers, back to enjoy familiar favorites. You certainly have your choice of classic New York-style pizza at Al’s—a vast array of toppings, gourmet and white pizzas, all in three different sizes, 12″, 14″ and 18″ pies. They also offer Sicilian and gluten-free pizzas. There are appetizers like wings or fried ravioli, a selection of salads with a variety of dressings, soups, sandwiches and traditional Italian entrees like Eggplant Parmigiana and Baked Ziti. And their popular subs are back, too. In short, something for everyone.

We went for an early Friday afternoon dinner and were greeted by a friendly staff and our choice of seating. It filled up very quickly however. Even though the business is primarily take-out, by 5:00  all the seats in the small dining room were taken. We shared the Fried Ravioli with Marinara appetizer and a couple of small house salads to start. The ravioli were crisp and cheesy and the salads generous. Delicious freshly-baked bread accompanied our meal. Our pizzas came out piping hot. With eight slices, the small was larger than either of us expected. No skimping on the ingredients at Al’s. My eggplant and garlic pie was covered with those two key ingredients (my favorite combo) and my friend’s veggie pie was piled high! We took the balance of our pizzas home in take-out boxes, cheerfully packaged by our waitress. We didn’t feel rushed, nor did we feel ignored.

Al’s has that familiar feel of a pizza place that is both relaxed and efficient, running like a finely-tuned engine. With all those years of making pizza behind them, the Selmani family knows how to do it right.

Al’s Best Pizza is open Monday to Wednesday, from 11am to 9pm; Thursday to Saturday, from 11am to 9:30pm; Sunday, from 12 to 9pm. For a peek of their menu or to download it, go to their web site: www.alsbestpizza.com

Al’s Best Pizza
787 Main Street South
Woodbury
203.586.1500
www.alsbestpizza.com

The artist best known for his iconic paintings of Walmart and Consumer Brand Products exhibits his abstract work in Litchfield County.
BY SARAH PARKER YOUNG

There is no abstract art. You must always start with something. Afterward you can remove all traces of reality.
–Pablo Picasso

A significant collection of the Brendan O’Connell’s abstract paintings is currently being shown in Washington Depot at The Matthews Group. The exhibition opened on January 31st and will run through the end of May. It has been written about the artist that, “his interests vary widely between popular culture and mystical traditions.” The abstract work featured in this show also evokes emotions with a combination of bold palettes and strong composition.

Brendan O’Connell is best known for his paintings of iconic brands and the aisles of Walmart. O’Connell infuses these modern day environments with a magical quality that transforms both shoppers and products into art. His artistic interpretation of the superstore had some in the media crowning him the “Warhol of Walmart’. Though the concept and subject matter is similar, Warhol put a literal focus on the brand as is seen in print advertisements. O’Connell, on the other hand, infuses his paintings with human warmth paying tribute to everyman and daily life.

The background of the artist reads like one of the vignettes of a Moveable Feast. After graduating from Emory University, O’Connell moved to Paris to teach languages and write a novel about artists. Once there, he picked up a pencil and discovered that he had a natural affinity and talent for drawing and painting. Paris was an inspiration but he practiced his art in a most arduous way by drawing portraits and caricatures in front of Notre Dame.

He has been featured in the New Yorker, Time Magazine, The Boston Globe as well as his work being reviewed in Art in America. Brendan also appeared on the quintessential Pop American show, Comedy Central’s, ‘The Colbert Report’. O’Connell’s work is collected by celebrities such as Alec Baldwin and Darrell Crate, the former chairman of the Massachusetts Republican Party and in 2012 he was honored with a Rubin Foundation Award.

Brendan is also the principal artist who founded Everyartist, a non-profit event which strives to ‘spark creativity’ by promoting the visual arts among children. Everyartist coordinated the largest community art event in history with the launch of Everyartist Live! in 2013 and 2014.

We were able to catch up with the artist at the opening of his new show and to ask about his work and inspiration:

You make your home in Cornwall, what do you love most about Litchfield County?

Brendan: A lot of people come here for a bucolic respite from work. I am here because it is a great place to work and raise a family.

You are best known for your work that depicts iconic brands and also the environment within Walmart, do these abstract works have a special meaning for you?

Brendan: I’ve always been an abstract painter from the beginning. In the beginning I did abstract shows and I was a closeted figure painter, now it’s the reverse.

You started drawing and painting in Paris, did that city inspire you to be an artist?

Brendan: Paris is inspiring but what made it work for me was that it is a culture that takes leisure seriously, and finding something to be engaged in.

How did this exhibition come about?

Brendan: Pels and I both have coincidental history with Tucker, GA, where I grew up…His grandfather had the famous roadside dive Matthews’ cafeteria. (Pels Matthews is the co-founder of The Matthews Group.)

Who influenced you as an artist?

Brendan: This series in particular is most influenced by 50s French abstraction.

What are you working on now?

Brendan: Right now I am working on three things: Clorox, a portrait and an abstract commission for Emory University.

Pels Matthews, who curated the exhibit, is a keen art collector himself. “We are fascinated with this collection of abstract work by Brendan,” he enthused, “exhibiting these lesser known works by this talented artist continues our tradition of bringing unique art to the community.”

Presently Brendan works out of a barn in rural Connecticut where he lives with his wife, landscape painter Emily Buchanan, and their two children. To read more about the artist, visit: www.brendanoconnell.com

The exhibit at The Matthews Group is open Monday through Saturday from 10 am to 5 pm and on Sundays from 10 am to 4 pm. For information call 860-868-0511.

The Matthews Group
4 Green Hill Road
Washington Depot, CT 06794
860-868-0511
matthews@raveis.com
www.matthewsgroupre.com

The Burnham Library in Bridgewater honors a local resident with an exhibition of his superb work. Robert Giusti’s successful career as an illustrator and artist reflects a life devoted to art.

Hailed as one of the top illustrators in the country, Robert Giusti began his artistic journey at a very young age. He was born in Zurich, Switzerland and raised in New York City. His father was the famous graphic designer George Giusti, so Robert grew up surrounded by art and the creative process.

He studied painting and sculpture and returned to New York City where he pursued painting. After showing his work in New York City galleries, he began applying his talents to advertising and publishing. This led to a very successful career as a graphic designer, illustrator, teacher and lecturer. Robert’s work is known nationally and internationally and has been featured in many publications. His art has been on exhibit at galleries and museums around the globe, and is now being shown locally at the Burnham Library. Robert’s love for abstract painting has always flourished throughout his career. He works out of his studio in his home in Bridgewater, which he shares with his wife Grace and their two dogs, Lupo and Baci. We visited his studio and spoke with him about his extraordinary life as an artist.

Can you tell us about your background and where you grew up?

I was born in Zurich, Switzerland. My father was born in Milan, Italy and my mother from Berlin, Germany. The family emigrated to the U.S. in 1938 and settled in Riverdale, NY. From grammar school to highschool, this was my home.

How did your father’s career as a designer influence you?

My father’s career as an artist influenced me greatly. I was exposed to his creative life on a daily basis. He worked freelance in our apartment and this made it possible for me to witness his thinking out problems up until its final creation, not to mention his techniques. He often discussed art projects with me and served as my main critic and advisor. He saved every piece of art I did.

Where did you study art?

I attended High School of the Music and Art in NYC. From highschool to Tyler School of Art (Temple University) in Philadelphia and finally graduated with a BFA degree from Cranbrook Academy of Art in Bloomfield Hills, Michigan.

Why did you get into illustration instead of fine art?

Actually I pursued fine art—sculpture and painting—before venturing into commercial art. My early paintings were abstract and expressionistic and mostly executed in oil paints on large canvases. My influences were Rothko, Still, De Kooning, Kline, Stella, Caro, Louis, etc. I showed my work in mostly group shows and reality kicked in regarding survival. So I looked towards advertising design and later publishing. When I became art director at Random House Publishing, I was exposed to the illustrative work of Push Pin Studio and illustrators such as Paul Davis, Milton Glaser, Roger Hane, Gil Stone, and others. I was intrigued by illustration as a pathway to conceptual communication. By the 1970s, I began approaching various magazines and record companies and was encouraged by their response to my work. The rest is history.

How and when did you move from New York City to Bridgewater, Connecticut?

My parents moved to West Redding, CT in the 1960s, so I came to know the area and simply made a choice to find property and live and work part time between New Milford, CT and NYC. This was in 1978. Twenty years later, I discovered Bridgewater and moved there full time in 1999.

How has your style changed over the years?

My early illustrative style was graphic and “primitive” surreal, much influenced by Magritte and Rousseau. Eventually, my work evolved into a more tightly rendered and precise— but still graphically conscious—style. Animals and nature subject matter in a neo-relism style appeared more readily than ever.

Besides editorial work, you also have done album covers, postal stamps, and children’s books. Have you done much advertising work?

I would say that advertising—posters, billboards, annual reports, ads, calendars, packaging, logos, and TV animation—comprises one half of the total work load.

How did you get into doing illustrations for stamp designs for the U. S. Postal Service?

Since a large volume of my illustrations was appearing in art annuals, exhibitions, and catalogues, etc, it came to the attention of art advisors and art directors whose clients were the U.S. Postal Service and once that contact was made, I received many commissions thereafter.

Have you ever taken commisions from private individuals?

No, I haven’t, partly  due to the fact that I was under pressure with heavy work loads that took up much time.

Do you spend time doing personal work, paintings for yourself?

I am constantly working on ideas reverting back to my earlier paintings, but it’s a slow and perplexing process. As an artist, you want to be “current” and progress beyond what you have already achieved.

Is there an area of illustration that you haven’t tackled yet, that you would like to do? 

No, it sometimes seems like I have covered every area, at least as far as illustration is concerned.

Robert Giusti’s show, The Art of Illustration, can be viewed
at The Burnham Library in Bridgewater until April 3, 2015.
Burnham Library
62 Main Street South
Bridgewater
860.354.6937
burnhamlibrary.org

Robert Giusti can be reached at: giusti170@gmail.com

Even with freezing temperatures and record amounts of snow, there’s much to do this winter in Litchfield County. From the taste of delicious maple syrup to snow-covered trails, there’s many reasons not to stay inside. Here’s a selection of places and events to savor the winter season.

One of the Northwest Corner’s hidden gems, Maison St. Germain is bursting with vintage painted furniture, home decor, art, and clothing. Meet the two women behind it.

Woodbury may be known as the Antiques Capital of Connecticut, with its plethora of great antiques shops specializing from French Canadian to 20th Century Modern, but one of our favorites is the unassuming and delightful Maison St. Germain. Tucked away in the back of a parking lot off of Route 6, this vintage shop hosts an explosion of colors, shapes, and textures. The mother/daughter team who run it are just as dynamic and creative. We spoke with Nicole Perez and Debra Germain about their sense of style and their love for all things vintage.

What are your backgrounds? Have either or both of you studied art, art history, or interior design? Do you have experience in dealing with antiques?

Debra: We have always lived with antiques. I learned to appreciate them from my grandmother. I have been collecting my own antiques since 1979. I am an artist. I studied art in the 80’s and did mainly pastel portraits. Painting is what I most enjoy now.

Nicole: I come from a family of incredibly talented artists. I grew up going to the Woodbury Flea Market every Saturday morning and visiting tag sales along the way. I learned about antiques from my parents and would research pieces I saw at the markets. My mom has always encouraged me to use my creativity and she has been a huge inspiration. I have a certificate in Culinary Arts, and a degree in Fashion Design & Merchandising.

Prior to opening Maison St. Germain, did either of you work in retail?

Debra: I have always had my own business of one kind or another, whether I was selling my art or owning a pet shop.

Nicole: I actually worked on the other side of retail. I was an Import Manager and Design Assistant for a wholesale furniture company. It was an amazing experience working with factories from all over the world.

How did you decide to work together? Do you each have specific roles within the company? Who does what?

Debra: Nicole is so talented and always has so many fabulous ideas that it was just a no brainer to open up a shop. We wanted a shop where everyone would be able to go home with something that spoke to them. We are always bouncing new ideas off each other and wouldn’t want any other partner in business than her.

Nicole: It kind of just happened. I was pregnant with my second daughter and was planning on working part time when she was born. My mom called me and said “I think we should start our own business doing what we love.” And of course I said “Let’s do it!” It started as an online business in 2008. We did really well and had clients from all over the world. Every year kept getting better and we both decided that we would like a brick and mortar store.

Does your relationship as mother/daughter sometimes get in the way of the professional partnership, or does it make it easier?

Debra: Working with Nicole is just so much fun! We each have our own talents and ideas and they seem to work well together. I think our vintage shop reflects that. I love her and our shop. I always want to come to work.

Nicole: We are both so much alike, yet so very different. We definitely balance each other out and work well together. There’s nothing like collaborating on something with someone who is genuinely as excited as you are. It makes the whole experience special. I think it works for us and would never chose anyone else to do this with. She’s the most creative person I know.

How would you define your style and the style of the pieces in your shop?

Nicole: This is a question we get asked a lot. Our style is our own. It’s definitely original and recognizable. If we do shows, people look at our space and immediately know it’s us. My mom and I both each have unique styles and together we create a completely different one. With that being said, our individual pieces can fit into anyone’s home.

Do you carry any new items or only used, second-hand pieces?

Debra: We carry 99% vintage pieces. Every once in a while we will find new items that are vintage inspired and decide to stock it. We stay clear of reproductions though.

What kind of custom work do you do?

Debra: We do custom painted furniture and create art for clients. We also stage and restyle homes. We really enjoy helping people put together a beautiful room that reflects who they are.

Where do you source your finds (or is that a secret?) and how do you decide which pieces to sell as is and which pieces to enhance by refinishing?

Debra: Nowhere is safe. We shop markets and estate sales up the East Coast. We plan on doing even more traveling this year. Clearly, we have the best job in the world. The pieces we choose have to have good bones. We love pieces that have detail that will be made even more beautiful when we paint them.

Nicole: I choose to paint the pieces 99.9% of the time. However, there are times where my mom will see the beauty in an antique stained piece and warn me not to paint it.

Who are your customers? Local residents, weekenders, tourists, the online community?

Nicole: We truly have the best customers. The benefit of previously having an online boutique and doing antique shows, is that your customers are literally from everywhere. When we stopped selling online, we had people travel from New York and Massachusetts just to see us. We even have our regulars who come in on their way to Brimfield. We also have the most wonderful local customers. When we decided to move from our smaller location, we were in limbo for a bit. We weren’t sure where we were going. During this time, the support and encouragement from them was overwhelming.

What percentage of your business is online?

Nicole: We don’t officially sell online anymore. However, we do have a Facebook page and often get people from out of state who ask us to ship them items we post.

Could you tell us about your fashion line of clothing and accessories?

Nicole: Our line is called Vintage Vixen. It has a Bohemian feel while holding on to its romantic vintage origin. It blends both our styles making the line unique and soulful. Each vintage piece is carefully curated then hand dyed and embellished. Every article of Vintage Vixen is versatile and can be worn to express your own personality. If you’re sweet and modest, wear one of our Prairie Slips with a jacket and leggings. If you are edgy, wear a petticoat with a tank and cowgirl boots.

What are your goals for the future of Maison St. Germain?

Nicole: Our goals are to expand our clothing and accessory line, Vintage Vixen. I would also like to start creating our own furniture. But honestly, Maison St. Germain has a mind of its own. It keeps evolving and we just go with it.

Debra: A book or two will also be in our future. This business has given us so many blessings of opportunity. We are truly grateful.

New Milford residents Susie and Jeff Berg operate H.A. Dunne & Company—with a collection of photographs from 1880 to 1950—offering a look into the history of NYC.

Hugh A. Dunne, a life-long New Yorker, had an enduring love for the city of New York. Over the course of his lifetime, he acquired an impressive archive of photographs and other ephemera that captured a time gone by. When he passed away in 2005, his daughter Susie inherited his collections. Susie now runs the H.A. Dunne Archive with her husband Jeff Berg, here in New Milford. The personal collection of just over 5,000 images — mostly photographed between 1880-1950 — is now one of the most extensive and unique vintage NYC photo collections in the world, representing the city in ways the more famous collections do not.

Hugh especially loved the simple things ­— New Yorkers going about their day — and he gathered many images of everyday life: tradesmen, policemen, doctors, street sweepers, mothers and children, as well as portraits of the buildings that make New York what it is, from the Chrysler Building to the Flatiron and Stock Exchange. We spoke with Susie and Jeff about her father, the images, and running H.A. Dunne & Company.

Did Hugh Dunne have a career in the photography industry prior to starting his collection or his business selling at the flea market? How did he get into it?

Susie: My father never took a single photograph. But he loved New York City. He was born there, he died there. My father had an amazing eye for looking at a photograph and seeing its potential. His collection differs from other collections in that he focused not just on the iconic New York, but spent a good deal of time sourcing images of everyday things — he loved photos that showed New Yorkers going about their day — and so his collection has many images of residential street corners, storefronts, and people.

In the beginning, my father was just a collector. He collected all things New York, but as the collection of photographs grew, he realized that there might be a market for them and so began to slowly grow them as a business.

Do you know who the photographers are?

Susie: We do not know who the photographers are. Our collection is simply a reflection of my father, his love for his city, and the way he saw it — a small but bulging city full of interesting people and exciting things to do. Whenever someone lamented to my father about change (a favorite store closing, a building coming down, etc.) he would always surprise them by saying that NYC was a “city of change,” and that is truly what he loved about it.

Do either of you have experience dealing with archival material, or did you learn as you acquired the collection?

Susie: Neither Jeff or I had any experience dealing with archival material, but we used to work with my father and saw how he handled the photos and negatives — carefully and with respect. He had no formal training either, but always looked for ways to learn how to handle, protect, and store the collection.

Who are your clients and customers? Are they private
individuals, corporations, publications, museums,
and/or cultural institutions?

Susie: Our clients are individuals who find us on the web, as well as in corporate installations. We sometimes sell one photo at a time, and have also done jobs where we’ve sold over 100 enlargements at a time. Our photographs hang in many homes, hotels, apartment lobbies, and Fortune 500 Companies. We also deal with art consultants who work with their clients to find the best images for their needs. Our photographs have also been featured in documentary films, museum tours, and TV shows.

What is the format and quality of the prints you make from the negatives?

Susie: We scan our negatives at a very high resolution, so we can output high resolution for almost any medium and size. Generally, we print museum quality prints on Epson Exhibition Fiber paper, which has an archival life of 150 years. We have also printed on other media, such as canvas and aluminum. We outsource specialized printing like the aluminum and very large prints.

Do you sell the prints framed or unframed, or both?

Susie: We sell the photographs unframed. Our smallest size, 8 x 10 inches comes matted so that it can easily and inexpensively be put into a ready made frame. All of our sizes are standard and can be either custom framed or put into a ready made frame. The larger sizes do best when they are professionally framed, and will last a lifetime.

Are all of the images in black & white? Or do you have color images as well?

Susie: Our images are primarily black & white, though we do have a handful of color images.

What is your price range for the NYC photographs?

Susie: Our prices for photographs range from $35 for an 8″ x 10″ to $135 for a 24″ x 30″.  We also do custom sizes and offer high resolution digital images. We do offer bulk discounts, as well as professional courtesy to art consultants and corporate clients. We are happy to do custom cropping and work with clients to get the tone and feel of each photograph just right.

Are either of you a collector? Did you inherit the “bug”? Or is it strictly business?

Susie: For both Jeff and I, a shared love of NYC, and of my father, has given us quite a love for the photographs. I spent many years working with my father, and so did Jeff. We’re quite a good team – I do the printing and Jeff is great at doing research. Like my father, Jeff finds the research part of it fascinating. We both have learned to clean up the images, and making them perfect for their new homes.

What is your best-seller in the collection?

Susie: There are many. Lately, we have sold a lot of prints of the Flatiron Building, but we also get a lot of interest in Central Park, Times Square, and bridges — New Yorkers love their bridges, especially the Brooklyn Bridge. Whether it is an individual looking for one special image, or a large corporation looking to fill their hallways, everyone wants photos that show their neighborhood. We do searches and custom web galleries for clients looking to use our images. In addition to the several hundred we have on our website, our collection comprises over 5,000 images.

What plans do you have for the future of H. A. Dunne & Company?

Susie: Our goal for 2015 is to expand our retail presence by partnering with small gift shops and museums to sell our photographs. We would also like to expand our list of art consultants, and most of all, to get more photos up on our website.

In addition to the vintage photographs, the company also sells advertising art, historic maps, architectural prints, travel posters, and railroad and transit memorabilia.

From selection to installation, Susie and Jeff have worked with a number of art consultants and interior designers, including Art Advice and Butter and Eggs in New York City to help decorate the walls of numerous corporate spaces and other institutions such as the NYU Law Library.
Whether you work in the trade or in a corporate space, they are ready to help you specify, source, and purchase unique historical images. To view the H.A. Dunne Archive online visit their online store, where new images are added every day. Call 888.250.8956 for a free consultation.

H.A. Dunne & Co.
11 Monroe Drive
New Milford
(c) 860-202-7584
(h) 860-355-5580
www.hadunne.com

A new location for a local favorite means a sunnier space for those who enjoy the tasty breakfast, lunch, and dinner (plus donuts!) at Dottie’s Diner in Woodbury. by veronica day

Dottie’s has moved. Happily, for those who have come to make this classic diner a regular part of their eating out experience, it has only moved across the street to a slightly larger location. A Woodbury standard since 1934, Dottie’s Diner was originally Phillips Diner until Dorothy Sperry purchased it in 2006. Giving it a 50’s flair, she brought her years of restaurant experience together with her award-winning donut recipe. The new Dottie’s has the same vintage diner motif, always spotless and furnished with the original turquoise and white booths familiar to patrons. There are the quintessential stools around the dining bar and campy photographs of the staff posing in retro fashions decorating the walls.

The menus at Dottie’s span breakfast, lunch and dinner. Choices range from diner favorites to contemporary dishes. For breakfast you have traditional offerings such as Eggs Any Style with Hash Browns and Toast or a new take on an old standard, Eggs Benedict with Spinach and Tomato. The dinner menu offers newer selections like Beet Carpaccio for a starter or the classic Phillips Pot Pie (all chicken, no veggies) for a hearty main. You can order a Mimosa with your brunch and there are a wide selection of wines available, by the bottle or glass with dinner.

My first visit to the new Dottie’s was one sunny winter Saturday not long ago, when I enjoyed perfect poached eggs, sausage, crispy potatoes and wonderful fresh fruit salad for brunch. The place was packed, but considering the length of the line, the wait wasn’t long at all. The staff is what really makes Dottie’s a welcoming destination. Always cheerful and quick to respond to any request, the waiter or waitress will make sure your dining experience is a great one.

Even if you don’t have time to sit down and eat a meal, stop by and grab a donut or three. You’ll be so very happy you did!

You can access all three menus on their web site.

Hours: Mondays, 6 a.m. to 3 p.m.; Tuesdays, 6 a.m. to 8:30 p.m.; Wednesdays, 6 a.m. to 8:30 p.m.; Thursdays, 6 a.m. to 8:30 p.m.; Fridays, 6 a.m. to 8:30 p.m.; Saturdays, 6 a.m. to 3 p.m.; Sundays, (breakfast and brunch only) 7 a.m. to 3 p.m.

Dottie’s Diner
740 Main Street South
Middle Quarter Mall

Woodbury
203.263.2516
www.dottiesdiner.com

Landscape architects, Dirk and Sam Sabin (a father/son team), say that winter is the time to assess your garden’s form, enjoy its winter beauties, and plan for the soft warm ground of May.

The job of the landscape architect is an ancient art, going back to the time of the Great Pyramids and the cultivation of fields in the Fertile Crescent. Also known as the Cradle of Civilization, this area saw the development of some of the earliest human civilizations, which flourished thanks to the water supplies and agricultural resources available. Technological advances made in the region include the development of writing, glass, the wheel, and the use of irrigation. Today, masons mix cement and lay a wisely-selected stone, laborers rake and dig, and plantsmen install plants for a variety of uses—much as it was back then. Though machines ease the work, they have not fundamentally altered the  work of landscape architects since ancient times.

Dirk Sabin and his son, Sam Sabin, operate Dirk Sabin Ltd., a firm that specializes in Landscape Architecture & Environmental Planning, in Washington. They are acutely aware of their role and its deep roots to the past. “Our mission is to join with our clients in the exploration of time, history, nature and architecture that makes a landscape the transcendent and transporting thing it can be.”

Before they arrive at a design concept, they look at each site and landscape as a unique entity, made up of many individual elements that are combined, like music, to create an overall feeling. During the design conversation with their clients, each element of the total composition is discussed in great detail. Only then, do they pursue an approach for the landscape.

Plants, soil, rock, wildlife, the movement of air, climate and light are some of the elements that the Sabins work with. The design and construction of a landscape is a process that is both fascinating and enriching to behold. “Unlike much of the static, man-made world that breaks down over time, landscapes assume a life of their own, growing more robust with the passage of time.”

The Sabins create all types of landscapes, from residential estates to swimming pools, multi-family housing and commercial properties. Though all are as unique as their individual clients, sites or uses, each must be planned to be beautiful, practical, and responsive to budgets, land use regulations and site conditions.

With a degree in Landscape Architecture and Environmental Planning from Utah State University and further studies in Bioengineering, Concrete, Soils Science, and Physical Oceanography, Dirk Sabin’s career is rich and varied—from landscape construction in Utah and Vermont, to working for a pool company, and on to working in many landscape architectural and engineering firms in Connecticut. For years, he was involved locally with the Planning Commission, The Inland Wetlands Commission, and the Conservation Commission of the Town of Washington. He has presented many lectures on stone, water, color, and sculpture in the landscape. His son, Sam Sabin, joined him as a partner at the firm in 2009. The father and son team took the time to answer some of our questions:

Dirk, how did you become interested in landscape architecture? Were either of your parents gardeners?

DS: I was always interested in nature as a kid. I was raised in a house my father designed at the base of the Wasatch Mountain Range in Ogden, Utah with a big view that extended out to western sunsets over the Great Salt Lake. Out the backdoor, we had literally thousands of acres of sand dunes, sagebrush flats, river valley and really extreme mountains to roam around—aside from the neighborhoods fronting the range.

My first memory of planting is sowing seeds of radishes with my mom. They come up quick, and as a kid with limited attention span, its a great first introduction to the wonders of planting.

My father was a structural engineer and architect, and when I was young, I told him I wanted to be an architect or a veterinarian. He knew my inclination was to play in the dirt, so he introduced me to a landscape architect he knew named Leonard Grassli, a Swiss-American Landscape architect who founded a very good firm in Utah. I was immediately attracted to building in the landscape. I eventually took a job as a foreman in his Design Build wing and the rest is history.

My nickname growing up, given my constant dirty hands and pants was “Dirty Dirk.”

Your background covers a wide range of experience with skill sets in many areas. How does this rich knowledge influence what you are doing today?   

DS: Landscape architects, it has been said, are generalists in an era of specialization. We deal with structure, drainage, wildlife, soils, plants, various clients and use this far-ranging knowledge to create spaces for humans to enjoy while preserving environmental quality. It is a “Big Picture” profession even though we may work on small sites.

I’ll never forget a site inspection I once had with my first boss Don Ferlow (an exceptional guy) at an urban plaza we had done on Summer Street in Stamford, Connecticut. The place had maintenance issues which we were both irritated about given our client’s less than assiduous attention to maintenance. While we were carping about it, a songbird landed on one of the Shadblow trees we planted in downtown Stamford and plucked a berry from the tree. Don, who always carried a camera, snapped a photo of it and announced :”What a great success.”

How has the field of landscape architecture changed over the course of your career?

The field is ancient even though its name of “landscape architecture” only arose in the 19th century with Olmstead. I suppose the biggest change is the technology of drawing and illustration offered by computers as well as the great power of modern machinery. But still, workers on our sites are still doing things that the ancients were doing when they built. That is one of my favorite things about the field. Sam is bringing us into the modern era, computerizing drawings while we still scrawl hand-drawn sketches.

As chairman of the Ad Hoc Conservation Commission of Washington, Connecticut, you oversaw the publication of a GIS Natural and Cultural Resource Inventory. How was it received in the community?

DS: It was well received. In fact, many copies were sold around the state as an example of what the new mapping technology could bring to planning. We (the Town) won an award from the Northwest Conservation District. It did not start out that way, we had push-back from certain elements who thought we were making trouble but we had raised funds and the document went forward. I’m very proud of what we all did. It is a great field guide to the landscape of the town.

Sam, how did you get involved in working with your father in landscape architecture? Did you study it as well?

SS: Although I was always interested in the outdoors, as Dirk is, I didn’t have the same professional inclination early on. My first passion was music, playing in a variety of acts from the age of 12 up until now. In high school, I funded my passion for music working as a mason with one of Chris Bruzzi’s install crews. I immediately was drawn to the craft and to the satisfaction of creating something tangible within the landscape.

My first inclination was to go to study music in school, but later I realized I’d rather maintain it as a hobby rather than a daily grind. During a year of exploration at Brooklyn college and a summer of building houses I decided that the combination of artistic pursuits with my appreciation of the built world were incapsulated in landscape architecture. I was drawn to the department at University of Oregon where they nurtured artistic, ecological and sustainable exploration within the profession. I obtained a degree Landscape Architecture there. After college I moved back to the east coast and found myself  in a fabrication studio called the Brooklyn Guild.

From welding to plastics to carpentry, my responsibilities ran the gamut with high-end fashion houses being the clients.  Quickly becoming a project manager the position demanded a very sharp attention to detail up against very tight production schedules. Daunted by the fashion industry I left the Guild to work with Dirk where we work with the same level of detail and scheduling, but produce projects with a much longer shelf life.

During my childhood, I spent a lot of time in nature— my father and I took many hikes at Steep Rock Reservation, here in Litchfield County. Playing music is one of my passions, and I like to think it’s not unlike the landscape—both have rhythm.

How do the two of you work together? Do each of you have separate roles within the firm, or different areas of specialization? Do you work together on every project or handle your own projects?

DS: Aside from being my boss, Sam is in charge of bringing me into the current century.

SS: Skills that I have brought to the firm are new technologies. Beyond simply the introduction of computer aided drafting—between Dirk’s experience and my more recent academic pursuits—we have been exploring more contemporary practices within the field including green roof systems. I have been maintaining an office in Brooklyn, New York where we have been working on anything from green roof feasibility studies to urban work of all scales.

While Dirk is the principal of the firm, we collaborate on almost all the projects that come onto either of our desks.  Collaborating with each other, as well as with a team of skilled professionals(architects, contractors, artists, etc) is one of the principle joys of the profession. That said, we certainly divide project management responsibilities in correlation with our skill set as well as geographically, where the projects take place. With projects ranging from Florida to Vermont, dissemination of responsibilities is crucial. I am beginning to develop the southern New York branch of our firm while Dirk maintains work within Litchfield county and points north.

Do you work with local masons, sculptors, and other craftspeople when combining different elements to create a composition?

DS: We work with a whole host of local crafts people and enjoy every minute of tight interaction with them. This is one of my favorite aspects of the profession, working with people who build.

What is your favorite type of project to work on?

DS: I don’t have a particular favorite. I’ve worked on corporate headquarters, industrial parks, college campuses, major estates, multi-family housing, parks, urban street-scapes and they all offer their charms. I suppose the best projects are a combination of a very atmospheric site and a client who grants us the most freedom to bring out its best potential.

What is the most common mistake people make when planning their property’s landscape?

DS: Not planning ahead and not listening to the site itself, aside from not hiring people who know how to work with the land’s special sense of place. Not maintaining a sense of humor is also a classic mistake, as is trying to change a certain piece of land into something it is not. With climate change, proper drainage in this new atmosphere is often overlooked.

How do you approach designing for a winter scape?

DS: The winter landscape has the charm of removing the cloak of foliage off the rocky terrain we possess. That, and designing in conifers and berry producing plants, along with the lovely qualities of dried ornamental grasses are some of the ways we approach winter scapes.

To see more of their work, go to: dirksabindesign.com
To contact Dirk or Sam Sabin, email them at:
dirksabinltd@gmail.com

Dirk W. Sabin, Ltd.
PO Box 2400
Marbledale, CT 06777
860-868-0558

As the owner of The Golden Button in Woodbury, Kate Gorham wants people to take time out of their busy schedules and their chaotic lives, sit down and relax, and have fun while learning.

The Golden Button Arts & Craft Studio is for people of all ages. Offering classes, workshops and custom events, it’s a warm and friendly place to be. From painting nights for adults (with cocktails and snacks) to children’s birthday parties, machine sewing classes, crochet, hand sewing, woodland arts, needle felting, and even family art nights, there’s something for everyone. The founder, Kate Gorham, is a painter and crafter, herself, working in many different mediums from paint to fibers. Kate always welcomes you with a smile, is very creative, and really fantastic with kids and adults. As a teaching artist, she passes on her passion and experience to her students inspiring them to create and enjoy the process.

Born and raised in Southbury, Kate left the area to study at Montserrat College of Art in Beverly, Massachusetts. After graduating with a Bachelor of Fine Arts degree in Illustration in 2004, she returned to teach Art Exploration at CAST Preschool and other local schools, and became a published illustrator. She has won awards for her illustrations and paintings, and created murals all over the state.

For the past 3 and ½ years, she has operated The Golden Button Arts & Craft Studio, first in the historic distric of Southbury, and more recently at its new location in Woodbury. With the Studio, she has combined her love of art and teaching. “The move to Woodbury has been well received. We have met many new people, as well as lots of our old friends have come to visit and create. Birthday parties are proving to be a big hit, as well as guided painting nights for adults. We are very busy and very happy!”

Kate enjoys teaching children and adults alike and is currently teaching classes at at the Woodbury Library and several local schools, as well as at her Studio. Along with teaching, Kate makes a living creating paintings, crochet creations, and many other custom items for people. She often joins other artists in curated shows.

This past December, Kate had a solo art show in the gallery at the Woodbury Library called “Animals in Scarves”  featuring a series of brightly colored acrylic paintings where animals wearing scarves were found where they do not belong, eating things that they would not eat, dressed in clothing they would not wear, in climates they would not live in. Her work is whimsical and joyful, a reflection of Kate’s outgoing personality.  An animal lover, she adores her two cats, Dallas and Kale, and is attracted to goats and llamas, in particular.

As a local business owner, Kate has always supported local craftspeople. Kate believes in “The Hand-Made Pledge” which is that you try to buy items that are hand-made or made in the United States, whenever possible.

​Looking into the future of The Golden Button, Kate says their goal is simple: to grow and expand. “We are currently looking at a few people to teach more classes… including jewelry making, knitting, weaving, and more.” She is also working on an online store so folks can get their needle felting supplies and great locally-made items. For now, The Golden Button just wants people to Be Happy and Make Art!

To sign up for classes or workshops, book an event, or to commision paintings, crochet items and other treasures from Kate, contact her at info@goldenbuttonshop.com.

The Golden Button Arts & Craft Studio
122 South Pomeraug Avenue
Woodbury
203.910.9948
goldenbuttonshop.com